《動物凶猛》과 《陽光燦爛的日子》比較 硏究

Abstract

Even though Wangshuo, a writer born in 1958 and Jiangwen, a director born in 1963 had age difference of 5 years, they commonly experienced turbulent era of the Cultural Revolution (1966-1976) in their boyhood days in the special space of Dayuan in Beijing. In the novel of《Wild Beasts》and the cinema of《In The Heat Of The Sun》created by them, "I", who became a present adult, reminds past boyhood days as they did. This study looked into change in story and expression method arising from cinematizing the original novel through media differences between a novel of character medium and a movie of sound?visual medium. Freedom given by Beijing street and Dayuan where all the adults had left during the Cultural Revolution brought the heroes enjoyment to secretly peep into deprived privacy since establishment of the People's Republic of China through hobby of 'making a master key' and 'picking a lock'. Authority of intellectuals became mud and teachers became the objects of ridicule by children. The women such as Yubeifei and Miran appeared to the characters who pushed studies aside, had gang fights wandering about empty streets and houses in Dayuan instead of staying at their own houses and showed resolutions to be heroes of the People's Republic by participating the China-Russia War, and their interest was shifted to desire to opposite sexes since then. In the novel and the movie, 'I' who became a present adult intervene into the work but there is a difference in intervention. The time when 'I' recognized close relationships between Gaojin and Miran was the beginning of intervention in the novel while voice of Maxiaojun who became an adult frequently appeared as narrator from the introduction of the movie and added expatiation about his own mentality and situations at that time. Main story of the novel seen through segments of incidents was remembrance of memory in such beautiful time becoming aware of the opposite sex during middle schooldays when the character habitually did wandering and deviation, and was continuous confession that the memory from the time of intervention into 'present I' as a novelist to the present time had been distorted and exaggerated, and thus, he promised to complete a story even it is a fiction by I, a real writer. As a result, remembrance of a memory up to now cannot be confirmed from when it is actually a fiction. In other words, it became literature. Main story of the fim is that adolescents themselves destroy the freedom which they obtained from absence of their fathers (adults) during the Cultural Revolution because they cannot control friendship and deviation and cannot suppress desire for the opposite sexes. In addition, the film added figure of young Maxiaojun in 1969 which was not in the novel and made the set-up differently from the novel by changing time arrangement that he drove a limousine with me, who lastly became an adult, as well as friends in Beijing street and met a fool again. Figure of young Jiangwen was projected into Maxiaojun so that the set-up in the cinema was different from the novel. Next, changes in characters arose while novel was cinematized in such ways that set-up of existing characters was changed or new figures appeared or new episodes were added. If we look it into specifically, it created and added new characters such as Mr. Hu, mother and a fool while set-up was changed even though Luyiku, father and etc appeared in the novel. An overall view shows that the novel and cinema scarcely use ideological elements like dazibao, criticism struggle or the Red Guard which are commonly used in other films with the Cultural Revolution as their materials of time setting. Code of the Cultural Revolution did not have much influence over Maxiaojun, the hero of the cinema, together with his party but they enjoyed them, instead. Or it may be right to say that they felt homesick faintly. This results from a viewpoint that the Cultural Revolution was a process to have been inevitably experienced for the China society to become mature. We can say that the source of such a viewpoint is 'nostalgia for old socialism', a cultural phenomenon created by inconvenience of incomplete market system and uneasiness resulting from rapidly changing society interlinked with intellectuals' shifting from the culture center to its fringe with Tiananmen Massacre in 1989 as a momentum, Teng Hsiaoping's Nanxunjianghua in 1992 and the 100th anniversary of Maozhedong's birthday in 1993.