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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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The purpose of this study is to illustrate the tragic life of Ruan Linyu 阮玲玉(1910-1935), a legendary movie star in the history of Chinese film, especially focusing on her representative films and the role of depicting women's miseries in those films. While portraying a full of her charming beauty as an accomplished actress and accommodating significantly the cinematic agenda of gender discrimination for women in 1930s Shanghai, she has been regarded as a symbol of people's nostalgia for the 1930s "Old Shanghai"'
This study also focuses on analysing her two silent films The New Woman 新女性(1934) and Goddess 神女(1934) with their female characters. The character Wei Ming, a school teacher as well as a woman writer, that Lingyu portrayed in The New Woman has been regarded as the symbol of women's tragedy over their powerless economic position vis-a'-vis Chinese traditional patriarchal forces. In Goddess, she performed a noble-minded mother and a lowly prostitute, expressing her special aura of sensitivity and sensuality. The specific image of prostitute frequently appeared in the 1930s Shanghai film world is a creative metaphor that illustrates the oppression of women and even the Old Shanghai. Both The New Woman and Goddess seem to give the impression that Chinese women's social position and economic independence in 1930s Shanghai proves more formidable than reality. Viewed in this light, it goes without saying that this theme and the characters she portrayed is still the shadow of Old Shanghai as a bustling cosmopolitan metropolis in 1930.
This study also focuses on analysing her two silent films The New Woman 新女性(1934) and Goddess 神女(1934) with their female characters. The character Wei Ming, a school teacher as well as a woman writer, that Lingyu portrayed in The New Woman has been regarded as the symbol of women's tragedy over their powerless economic position vis-a'-vis Chinese traditional patriarchal forces. In Goddess, she performed a noble-minded mother and a lowly prostitute, expressing her special aura of sensitivity and sensuality. The specific image of prostitute frequently appeared in the 1930s Shanghai film world is a creative metaphor that illustrates the oppression of women and even the Old Shanghai. Both The New Woman and Goddess seem to give the impression that Chinese women's social position and economic independence in 1930s Shanghai proves more formidable than reality. Viewed in this light, it goes without saying that this theme and the characters she portrayed is still the shadow of Old Shanghai as a bustling cosmopolitan metropolis in 1930.
목차
1. ‘올드 상하이’와 롼링위阮玲玉 (1910-1935)
2. 롼링위의 비극적 생애와 대표적인 영화들
3. 《신여성新女性》과 《신녀神女》에 등장한 여성상의 상징성
《參考文獻》
《Abstract》
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UCI(KEPA) : I410-ECN-0101-2010-912-002124532