이안 영화의 동양적 이미지 운용 연구

Basic Information

Title

이안 영화의 동양적 이미지 운용 연구

Subtitle

-

Parallel Title

-

Country

국내

Production Date

2011-**-**

Language

한국어

Size (mm)

-

Pages

118

ISBN/ISSN

-

Edition

-

Master Files

-

Producer

남혜원 (한국외국어대학교 대학원 중어중문학과 석사 논문 저자)

Description

(논문요약)[영문초록] This paper is aimed at analyzing uses of oriental images in Lee Ang’s film. He is a Taiwanese American director making films vigorously in Hollywood. Behind his successful career, he was educated in both Taiwan and America and chose to be diaspora moving from Taiwan to America. Researchers say his works are well-harmonized with Eastern and Western cultures. Furthermore, they consider the movies described West in the view of Chinese. This means the position of Eastern culture in his movies is quite significant. Hence this paper sees that issues of identity in Lee Ang’s films arise from his position as a diaspora director, it inspects his life and his works as a diaspora in Chapter 2. Subsequently, in Chapter 3, and 4, it explains oriental images in visual and auditory way in his five films; Pushing Hands(推手)(1992), The Wedding Banquet(喜宴)(1993), Eat, Drink, Man, Woman(飮食男女)(1995), Crouching Tiger, Hidden Dragon(臥虎藏龍)(2000) winning Best Foreign Language Film at the Academy Awards, Lust, Caution(色,戒)(2007) coming up in conversation due to sex scenes. Visual images are divided into five sectors; color, movement, space, Chinese traditional image and form; and analyzed revolving around movie theories. The color made contrasts and symbolic images using lights and shadow, this represented characters’ slight changes, situation and atmosphere. The space arranged with the time helped narrative. The movement by characters completed still images by long take and long shot technique. Musician in soundtracks were varied from France to China regardless of nationalities or cultures promoting harmony of East and West. Sound effects brought into oriental images regarding inner spiritual world through silence. Diverse languages in films changed close image of East to open one. By releasing Chinese and oriental images frequently, Lee Ang reconstructed identity of Eastern culture through metaphor and symbols. Chinese in his films were depicted as westernized figure with oriental spirit. The oriental tradition exists as a part of lives of Chinese and overseas Chinese in modern society. The oriental images reproduced by Lee Ang showed mixture of tradition and modern. His films represented new Eastern images using visual and auditory means such as color, space, sound, lines in the narrative flow. It needs to be paid attention how hybrid identity and mixture of East and West will be changed in Lee Ang’s films.

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