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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
중국어문연구회 중국어문논총 중국어문논총 제98호
발행연도
2020.1
수록면
163 - 190 (28page)

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In connection with the 1986 <Not everything> performance and the Tiananmen Square protests of 1989, Cui Jian was called the mouthpiece of a youth culture that resisted the nation’s old ideas and systems, then given the status of the Enlightenment, and eventually erased as the godfather of ‘China’ Rock and Roll. But this frame puzzles Cui Jian, who has been constantly pursuing new musical quests. This is because Cui Jian’s public perception of music remains in the past. While Cui Jian’s musical experiments and practices continue, the public’s perception and empathy for Cui Jian lingers in the ‘80s’ era of Work and Ownership. Cui Jian flatly refuses to stay as a sign of an era. Perhaps because of this, Cui Jian’s overseas activities become more active. His activities have also expanded beyond the realm of music to movies, and his international reputation as a film director, not a rock singer. They are also actively seeking activities in Korea. The study focuses on “Cui Jian,” a godfather of Chinese rock music in modern Chinese space, and examines the existential aspects of Cui Jian, which appear to be through the process of the Courtyard culture gaining its identity as the godfather of rock music, and how it summons him in Korea today.

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