지아장커(贾樟柯)의 “고향 3부작”에 등장한 “아버지 이미지” 연구

초록

The 6th generation directors of China appeared in the film industry under the social background of reform and opening up and called themselves ‘New People’. Chinese 6th generation directors express their willingness to break up with cinematic customs and cultural traditions in terms of film narrative themes and video language. One of the characteristics of their works is the expression of modernity through realistic visual language that captures the life experiences of individuals. The negative representation of the father figure, who is the ultimate authority in the family and the ‘guardian of the existing family social system and societal norms,’ is considered a strategy for their break with tradition. The loss and rejection of the father’s authority, which represents the order of the symbolic world, is a cinematic reflection of the sixth-generation director’s willingness to drive new changes. The image of the father depicted in Jia Zhangke’s early work, the Hometown Trilogy, is marked by the dilution and backgrounding of the father’s image in the quest to break away from tradition. The father figure represented in Jia Zhangke’s Hometown Trilogy can be categorized into three types. The first is the economically incompetent father, the second is the morally deviant father who becomes a target for the next generation to overcome rather than a role model. Lastly, it is consolidated into the image of the absent father who has a weak presence in both the film and the family. Jia Zhangke’s portrayal of the father’s castration and backgrounding through the ‘drive to harm’ can be interpreted as a strong expression of resistance against the older generation, mainstream ideology, and traditional values. This phenomenon reflects the cultural changes in Chinese society following reform and opening-up, encapsulating the hopes and vitality of a new generation growing up.

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