주제의식과 인물형상의 변화로 본 중국고전 『요재지이·섭소천』과 백사전을 개편한 영화에 대한 고찰 (A study on the Lioazhaizhiyi Niexiaoqian and Baishezhuan stories films from the view of theme and characters)

서지정보

· 발행기관 : 한국중어중문학회
· 수록지 정보 : 중어중문학 / 65호 / 291 ~ 308페이지
· 저자명 : 최병규

초록

본 논문은 그간 중화권 지역에서 상영된 중국고전 애정류 소설 『요재지이·섭소천』과 백사전을 소재로 한 일련의 영화들에 대한 고찰을 통해 중국고전을 개편한 이들 영화들에 나타난, 원전에 비해 한층 진화된 주제의식과 인물형상의 발전변화에 대해 논의해 보고자 한다. 이는 우리들에게 중국고전문학작품에 나타난 예술적·사상적 한계와 함께 현대 중국인들의 문화심리를 엿보게 해주는 좋은 기회가 될 것이다.

영어초록

When we read the films based on the Chinese novel 『Lioazhaizhiyi·Niexiaoqian』 and <Baishezhuan> story, we can find some changes of the original stories in themes and characters, which represent the taste and view of modern chinese people.
In theme, modern chinese films do not like the justice, moral lessons and ethical sense which are the most popular themes of chinese ancient literature. Instead, they tend to emphasize the deep feelings of human nature such as deep and blind love or love triangle. So modern chinese films like to describe the personality and feeling of human nature instead of praising morality.
Besides, modern chinese films try to think outside the box of the monotonous happy ending stories structure which is based on chinese ancient confucian culture. So they try to seek the spirit of tragedy contained in chinese ancient literature, so that they can raise the profundity and impression of the films.
In characters, modern chinese films god out of the standardized views of dividing good from evil, therefore the existing bad man is not a bad guy any longer. All people have their own characteristics and human feelings. Besides, modern chinese films have some critical consciousness against chinese traditional Confucianists who were the most ideal men in chinese ancient society, which is not only the hatred for male chauvinism, but also is the reflection of a non-authoritarian and non-masculinist.

참고자료

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