대중서사연구
- P-ISSN1738-3188
- E-ISSN2713-9964
ISSN : 1738-3188
Melodramatic Memories in A City of Sadness and Peppermint Candy
Abstract
This paper explores the representations of popular memories of traumatic national history in A City of Sadness (Hou Hsiao-hsien, Taiwan, 1989) and Peppermint Candy (Lee Chang-dong, South Korea, 2000). The two filmic narratives revolve around two different historical times and locations, but entail similar national traumas - the government killing its own citizens. By using melodramatic codes, the two films produce narratives of collective suffering to emphasize the pain of trauma, and in the end, these films create a homogeneous victimized community which erases critical differences between the popular memory and the national history. I hope to contribute to the discussion of A City of Sadness and Peppermint Candy by reading these films as melodramas, a method which effectively exposes the two films' gendered politics in their dramatization of popular memory. This paper also offers a critical reading of melodramatic memory in relations to gendered representations of suffering with the question, "What is Asian Cinema?" My critical reading of the two films' gendered politics is a theoretical practice that imagines "Asia as a critical method."
- keywords
- melodramatic codes, traumatic memory, popular memory, victimhood, gendered narrative, modernity, Asia, 멜로드라마적 코드, 트라우마적 역사, 대중적 기억, 피해자/희생자, 젠더화, 근대성, 아시아
Reference
(1994) ed. Wimal Dissanayake. Colonialism and Nationalism in Asian Cinema. Bloomington, o Chinese Cinema Indiana University Press
(1976.) and the Mode of Excess. New Haven, Yale University Press
(1994) on the Political Economy of Chinese Melodrama" New Chinese Cinemas, Cambridge University Press
(1999) Getting it on Film: Representing and Understanding History in A City of Sadness,
(2001.) Becoming "Japanese" : Colonial Taiwan and the Politics of Identity Formation., Berkeley: University of California Press
(1987) Thomas"Tales of Sound and Fury Observations on the Family Melodrama" Home is Where the Heart is. Ed. Christine Gledhill. London,
(1987.) Ed. Home is Where the Heart is. London BFI Publication,
Tuo"Narratives of History in the Cinematography of Hou Xiaoxian" Positions 1,
(1993.p.281-296.) Ping-hui"Rewriting Taiwanese National History:The February 28 Incident at Spectacle" Public Culture. 5, 2
(Summer1999) Passing and Re-articulation of Identity: Memory, Trauma, and Cinema,
(2002.) A City of Sadness, London: British Film Institute
(1998) Hou Hsiao-hsien: Critical Encounter with Memory and History, Oxford University Press
(1994) William"The Ideology of Initiation The Films of Hou Hsiao-hsien" New Chinese Cinemas, Cambridge University Press
(1998) Melodrama Revised, Refiguring American Film Genres: History and Theory. Berkeley: University of California Press
(2001.) Playing the Race Card: Melodramas of Black and White from Uncle Tom to O.J. Simpson. Princeton, Princeton University Press
(1997) Constructing a Nation: Taiwanese History and the Films of Hou Hsiao-hsien, Sheldon Hsiao-peng Lu. Honolulu: University of Hawaii Press
(2002.) Screening China, Ann Arbor: Center for Chinese Studies University of Michigan
- Downloaded
- Viewed
- 0KCI Citations
- 0WOS Citations