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논문 기본 정보
- 자료유형
- 학술대회자료
- 저자정보
- 발행연도
- 2008.11
- 수록면
- 246 - 249 (4page)
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초록· 키워드
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This paper is roughly divided into 'Composition of antagonism-disunion and union' and 'From 'absence of father to absence of nation. I tried to transcend the ideological limit by reading between lines of Feng Xiaogang's Night banquet(2006) and Assembly(2007). We need to read Chinese film relating to the cultural policy of Chinese government rather than film itself. These two film might more useful if we read them as social produce that Chinese nationalism and globalization's strange hybridization had born in fin-de-sicle. Night banquet is historical film which was adapted from Shakespeare's Hamlet, and Assembly is war film that Korean TaeGukGi: Brotherhood Of War's MK pictures had took charge of the special production. Assembly was born by making application of the entertainment element of TaeGukGi. It removed the present China in the genre of war film, however, when it chase the desire of the masses applauding blockbuster, it became the mirror entirely reflecting the collective desire and unconsciousness. Feng Xiaogang mapped out orientalism-Orient as mystified spectacular-as strategy, and he tried to overcome the original work with this.
If the strategy of Night banquet cinematizing the disunion period of empire is close by existentialism, Assembly is realism. Historic personae make a dehistoric gesture that is remembered, imagined in Chinese society, however, it is included in the huge shadow of knight-errant historic novel. Assembly is stimulating the imagination of Chinese nation by fraternity that could identify ideology through excluding the Other-Nationalists Party Army. Here, the colonization desire based on the imagination of "One Nation Two System"-the absorbtion unity is inherent. However, we couldn't find Feng Xiaogang's decontructive imagination who had not experienced the division and war as exitential experience. Unlike Korean film, as it were, presenting the possibilities of dedivision movie through dialectic of repetition and decontruction, there's not any attempt in Assembly. As the vigorous propagation power of nationalism which could change into excessive collectivism meets the desire of capital, there reveals the intention of Feng Xiaogang who tried to cinematize the division simply as subject matter. One writer produced two film at similar period, but the dissimilar style is just because of this vagueness. Family is not appearing in Assembly any more than Night banquet shows the deconstruction of family. The comrades appears in Assembly as if they were orphans, thus these two films present the absence of father-Oedipus complex. Scratching around the dead bodies of his men, Guzidi sublimate the fraternity to his men into nationalism. In here we bring the nation narrative device-nationmaking as narrative to mind. The Chinese nationalism as cause is made into nation state through this.
If the strategy of Night banquet cinematizing the disunion period of empire is close by existentialism, Assembly is realism. Historic personae make a dehistoric gesture that is remembered, imagined in Chinese society, however, it is included in the huge shadow of knight-errant historic novel. Assembly is stimulating the imagination of Chinese nation by fraternity that could identify ideology through excluding the Other-Nationalists Party Army. Here, the colonization desire based on the imagination of "One Nation Two System"-the absorbtion unity is inherent. However, we couldn't find Feng Xiaogang's decontructive imagination who had not experienced the division and war as exitential experience. Unlike Korean film, as it were, presenting the possibilities of dedivision movie through dialectic of repetition and decontruction, there's not any attempt in Assembly. As the vigorous propagation power of nationalism which could change into excessive collectivism meets the desire of capital, there reveals the intention of Feng Xiaogang who tried to cinematize the division simply as subject matter. One writer produced two film at similar period, but the dissimilar style is just because of this vagueness. Family is not appearing in Assembly any more than Night banquet shows the deconstruction of family. The comrades appears in Assembly as if they were orphans, thus these two films present the absence of father-Oedipus complex. Scratching around the dead bodies of his men, Guzidi sublimate the fraternity to his men into nationalism. In here we bring the nation narrative device-nationmaking as narrative to mind. The Chinese nationalism as cause is made into nation state through this.
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