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KCI등재 학술저널

『붉은 수수밭(紅高粱)』의 영상 미학과 담론

“Red Sorghum” is an adaptation of a novel. After analyzing the process of reconstructing the textual narrative of a novel into a cinema, the narrative content of the original novel, which was actually transferred to the cinema, was only an extremely single-track story. Novels are judged on their aesthetic achievements by the completeness of written narratives. The cinema is written in a different ‘image’ from the novel, and the meaning of the cinema is created by the simultaneous convergence of the epic elements of music, sound, color and caption. If you look at the movie reviews from the level of impression criticism, you can only see what you want to see and evaluate them. However, the criticism of criticism discourse should be a little different. “The Red Sorghum” brings the keyword ‘life’ from the original novel. And director set the direction of the film's formation in a ‘marvel’ expression, one of the national narratives. This adds to the nationalist discourse that originated in China's ‘root search’ and Dionysus culture, which was analyzed in Nietzsche's “Birth of Tragedy”. These various elements of critical discourse are dialectical in cinema, creating aesthetic outcome of creative imaging narratives.

Ⅰ. 문자와 영상의 서사적 변주

Ⅱ. 민족주의와 오리엔탈리즘

Ⅲ. 담론과 영상의 미학적 변증

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