‘경계’가 만들어내는 주변인의 서사

• 발행기관: 한국중국소설학회
• 저자명: 陳性希
• 간행물 정보: 『중국소설논총』제33집, 265~287쪽, 전체 23쪽
• 주제분류: 인문학 > 문학
• 파일형태: PDF
• 발행일자: 2011.04.30

영문 초록

This study is to study how producer Lee Ang is seeking his identity as a stranger in his movies. Lee Ang expressed various topics with new ways to create a new genre for movie, and therefore developed his unique movie esthetics with both cinematic quality and commercial success. The key words through Lee Ang’s these kinds of movies are the ‘Boundary’ and the ‘Bystander’. Lee Ang implied Chinese traditions in a father having an identity crisis in the changing world in the early series of ‘Father-Knows-Best’. In his works of the middle period, he observed what are society and individuals with people in their worst situations seeking truth like a homosexual man or a female spy. In his late works, he showed people becoming free and not restricted to systems, old customs and norms while they are seeking their identities inside the family. Lee Ang doesn’t accompany serious reflective attitude to explore his identification of a Taiwanese one who is given to him historically and racially. Instead, because they were utter outsiders, they could get away from all systems and social norms and create an esthetic of paradox that defines an identity only away from an identity.

목차

1. 서론

2. 대만 영화와 리안의 필모그래피

3. ‘아버지 3부작’ - ‘중국적’인 것에 대한 탐구

4. 파격의 드라마 - 소수자 이야기

5. 해방된 주변인 - 혼종성의 추구

6. 나오며

〈參考文獻〉

〈Abstract〉

키워드

Lee Ang(李安) Identity Boundary Bystander Outsider Taiwanese Chinese traditions