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1 전기영화가인물과역사를소환하는한방식에대해 - 영화 < 황금시대 > 를중심으로 진성희 ( 숭실대학교 ) ( 傳記 ),..,.. <, 葉問 Ip Man>(2008), <, 梅蘭芳, Forever Enthralled>(2009).,... < >

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4 . ( 許鞍華 : Ann Hui) 1). 2) <, 風劫, Crazy Disaster/The Secret>(1979). 3) ( ),, ( 浮游性 ). 1) ([ ], 20,. ( ) ( ), ( ).,, 100,, 2014, p ) ( ), ( ) ( ).,, ( 關錦鵬 ), ( 王家衛 ). ( ).. 2) TV new wave; 新浪潮. Nouvelle Vague, ,. TV. 1), p ).

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6 ...,.. 7) ( ) < >.. 8) <, 傾城之戀, Love In A Fallen City>(1984), <, 半生緣, Eighteen Springs, Half Life Fate>(1997) ( 張愛玲 ), 1930,40. < >. < > ( 湯唯 ), <,, 色, 戒, Lust, Caution>(2007) <, Late Autumn> (2010)., 7),, [ ],, 1997, p / /.,. 8) < > 2014, 2014 (BIFF), 2014.

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20 ,,,, 1999.,, 21 No. 975,,, 2010.,,,, 2011., [ ],,, 1997.,,, 2000.,, ( 奇遇 ) ( 蕭紅 ),, 2004., memory narrative,,, 2004.,,, 2008., < >, 21 No. 975, :,, , < >:, 2014,, 2014.,, 50, ,,,, 2006., 100,,, 2014.,, 17, 2010., : < >, < >, < >, < F>,, ( 許鞍華 ),, 黃金時代, The golden era,, 鄺保威編, 許鞍華說許鞍華, 上海 : 復旦大學出版社, 中國電影藝術硏究中心, 中國電影資料館編, 香港電影 10 年, 中國電影出版社, 陆新, 难以呈现的文学世界和文学观念 - 电影黄金时代的碎片化影响, 宜宾学院学报第 15 卷第 2 期, 2015.

21 ABSTRACT On a Way in which Biographical Film Summons Character and History - Focusing on the Film, The Golden Era - Jin, Sung-Hee Biographical film is a genre narrativizing the actual person and history, and reproducing the character and history in a biographical film is in a dimension different from a film focused on a fiction. Discussion between these methods of narrative composition and image reproduction in a biographical film is also, in line with artistic/aesthetic problems and ethical/philosophical theses of the film text. This study discusses the phase of the way of reproduction of the actual person, Xiāo Hóng in the biographical film, The Golden Era and the time she lived in a biographical film and how the audience's discussion of the film and socio-cultural discourse differ depending on their attitude towards the cinematic introspection of the text. The narrative structure, the method of image reproduction and cinematic devices of the film, The Golden Era are completely off the point of the general format of the traditional biographical film. In The Golden Era, Xiāo Hóng and the history which she lived in did not revive depending on an omniscient subject's selective statement and meta-film structure. Ann Hui removed general, mythic images of Xiāo Hóng formed in the field of traditional Chinese culture and reproduced her through multilateral visions of a real, fictional narrator. Each spectator's judgment and interpretation of the film intervene in the multi-layered and sparse descriptions of the actual person's images and the era of the characters. Through this, it is possible to approach the uniqueness and authenticity a historical character, Xiāo Hóng and to have an opportunity of multi-layered reflection on how to secure a critical distance and make a perception in historical judgment. Key Words < >,,, ( ),, /

22 ,,, The Golden Era, biographical film, actual person, (Past)History, Xiāo Hóng, interviewee/polyphonic speaker, contemplative vision, annotation, cinematic introspection : : :

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<BEEEB9AEB7D0C3D1203539C8A3C7D5BABB283132BFF93330C0CF292E687770> 어문론총 제59호 한국문학언어학회 2013.12. 앙드레 지드 좁은문 의 조선적 전유방식 - 모윤숙의 散文集 렌의 哀歌 (1937,일월서방)를 중심으로 - 안 미 영* 1. 서론 2. 앙드레 지드의 좁은문 : 신에 대한 인간의 성실성 3. 조선적 전유방식 : 시점의 전환과 주제의 변용 3.1. 구원의 연인과 정신적 연애에 대한 향유 3.2. 연애를