문혁시기 중국의 북한영화 수용과 신세기 전후 중국영화 속의 잔영China’s Acceptance of North Korean Films During the Cultural Revolution Period and It’s Afterimages in the Chinese New Century Films
- Other Titles
- China’s Acceptance of North Korean Films During the Cultural Revolution Period and It’s Afterimages in the Chinese New Century Films
- Authors
- 장동천
- Issue Date
- 2021
- Publisher
- 한국중국현대문학학회
- Keywords
- China' s Acceptance of North Korean Films; Cinema Culture in the Cultural Revolution Period; History of North Korea-China Film Exchanges; North Korean Images in the Chinese New Century Films; Nostalgia and Kitsch in the Chinese Cultural Revolution Background Movies
- Citation
- 중국현대문학, no.97, pp.135 - 160
- Indexed
- KCI
- Journal Title
- 중국현대문학
- Number
- 97
- Start Page
- 135
- End Page
- 160
- URI
- https://scholar.korea.ac.kr/handle/2021.sw.korea/138824
- DOI
- 10.46487/jmcl.2021..97.135
- ISSN
- 1225-0716
- Abstract
- This paper explores the acceptance of North Korean films in China, especially the pessimistic aspect of the general public during the Cultural Revolution. At the time, the Chinese audience was so enthusiastic that the North Korean films also left afterimages of the Chinese Films about the Cultural Revolution which appeared around the New Century. What makes North Korean films so enthusiastically welcomed by Chinese audiences? Also, what is the significance of Chinese films dealing with North Korea's image of the Cultural Revolution in the post-modern era? Starting with these questions, this paper first examines the acceptance of North Korean films during the Cultural Revolution, and then traces the context and meaning of its appearance in a series of Cultural Revolution films released in China around the New Century. The films about the Cultural Revolution before and after the New Century, which will be covered by this paper, are works that reproduce the life history of the Cultural Revolution period in the way of Nostalgia and Kitsch under the influence of postmodernism. The exploratory gaze on the daily lives of these films, which are different from the existing meta-narrative, has given a new role to the image of North Korean films.
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