과잉과 생략의 전시내러티브

A Study on the Display Ideology of the China National Film Museum

The purpose of this study is to explore the role and intention of the China National Film Museum(CNFM) in present social culture, by understanding the ideology of the exhibit narrative in the China National Film Museum. In order to analyze this matter, two sources were used. The first included field research from two on-site surveys in August 2010 and January 2011. The second source was thesis papers and references from within China and abroad regarding CNFM. In addition, in order to conduct a more in-depth analysis, three research methods were applied. These included Althusseur' ideological state apparatus, the selection and exclusion of works in the exhibit, and the reinterpretation of the exhibit by the viewer. The results of the survey and research methods revealed the motive of the institution, the subject of the management, the theme and narrative of the exhibition, the connective program, the services area, and other elements. Therefore, the narrative of the exhibits of CNFM could be deduced. First, by analyzing the origin of film from ancient China's traditional plays, Ying Xi (shadow play), the perspective of the works, which represent the national culture and reception, exposed the nationalistic ideology. Second, the exhibits consistently demonstrated socialist spirit and patriotism in the excessive political ideology. Third, it appeared that fifth, sixth, and post-sixth generation directors' movies were generally omitted or were sent to the peripherals of the museum. Fourth, the nationalistic ideology was connective and incorporated into the education programs in China. Fifth, Hong Kong and Taiwan exhibits had themes suggesting unification with mainland China. Therefore, CNFM reveals the current culture and politics, which allows us to understand contemporary China society. Moreover, it displays the state's ideology which emphasizes socialist spirit and nationalism.