동아시아 영화들에 구현된 폭력의 상징으로서의 기차와 그 극복

The purpose of this study is to compare the image and meaning of “train” in three different countries of East Asia such as China, Japan, and Korea. We choose three films of each country, 『Oh, Xiangxue(哦，香雪)』, 『Tokyo Story(東京物語)』, and 『Train to Busan(釜山行)』, each of which shows the characteristics of the modernity through the train. The thing which the study focuses on is that train is a representative symbol of the modernity and that especially these three movies well demonstrate the “violence” of the modern through the attitude towards train and the modes of life related with it. Each film has about a decade time gaps, but has also common ground in that it reveals the isolation and desolation of the soul emanated from the modernity and the industrialization. Concretely, the train of 『Oh, Xiangxue』 symbolizes the coexistence of primitive nature and modern civilization, because it was based on the collapse of traditional society and community values from the emergence of the train. On the other hand, the trains in the 『Tokyo Story』 were related to the image of conflict of values and reconciliation between traditional perspective and modern mode of life. In addition, 『Train to Busan』 transfigured the external social network as showing the disconnection, distrust and selfishness of modern people in the era of highly industrial capitalism. In spite that these three movies have different backgrounds, we can find common perspective which is the violence caused by changes by the modern mobility. As a result, this study is meaningful in that it analyzes how the trains were described in the movies as a means of violence.