1930~40년대 상하이 영화의 양가성 연구

• 영문명: A Study on the Ambivalence of Shanghai Films of the 1930s and 1940s
• 발행기관: 한국중국소설학회
• 저자명: 陳性希
• 간행물 정보: 『중국소설논총』제40집, 237~258쪽, 전체 22쪽
• 주제분류: 인문학 > 문학
• 파일형태: PDF
• 발행일자: 2013.08.30

영문 초록

Shanghai was at the center of the early stages of development of Chinese film industry. Following the Opium War of 1840 and the Treaty of Nanjing in 1842, Shanghai opened its port and emerged as the economic cultural capital of China. Shanghai was prepared to produce, distribute, and screen films. The city also had large enough population consume the new form of media called film. Previous studies of Shanghai films focused on backgrounds of development and the division into two groups: leftist films of socialistic realism and popular films influenced by the West, namely the United States. This study diverges from the mainstream of analysis on the Shanghai films of the 1930s and 1940s. It contemplates aspects of negotiations that occurred among the leftist and popular films. In order to overcome binarity, the of Peter V. Zima was borrowed to prospect collision and negotiation among the two groups. The leftist films employed different bargaining mechanisms concerning the aesthetics of popular films influenced by the West. First, they reflected Chinese ideologies to adhere to, such as humanitarianism and paternalism, in soap opera that were familiar to the public. They also employed audio techniques that drew political agenda―patriotism and establishment of national identity―into individual subjectivity of their audience. The effective association between mainstream aesthetics and ideologies found in Shanghai films of the 1930s and 1940s had substantial influence on Sinophone films in later years. Furthermore, Shanghai films demonstrated significant impact on films made in the first half of the 20th century. They are also in the middle of the emergence of Asian films at the present time. study of Shanghai films is equivalent to investigation of Sinophone films of the 21st century. Moreover, there is a common feature between Shanghai and film: Shanghai is the first modern city in China; and film popular media that reveal urbanism by nature. context and characteristics of Shanghai films is significant and because it is related to exploring the reality of fast urbanization in China.

목차

1. 들어가기

2. 1920년대 : ‘옛 영화’들과 할리우드 영화의 양립

3. 1930～40년대 상하이 영화의 황금기와 침체기

4. 1930～40년대 상하이 영화의 양가성

5. 나오며

〈參考文獻〉

〈Abstract〉

키워드

Shanghai Films of the 1930s and 1940s Leftist Films Popular Mainstream Films Ambivalence Negotiation