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Çö´ëÁß±¹Àº »õ·Î¿î ¼ÒÅë¼ö´ÜÀÌ ³¹«ÇÏ´Â ½Ã±â¿¡ Æ÷½ºÆ® »çȸÁÖÀǸ¦ ¿°Ô µÆ´Ù. ¸¶¿À Ù¾÷ÊÔÔ Mao Zedong»çÈÄ ¹ú¾îÁø ÀÏ·ÃÀÇ Áß±¹Á¤ºÎ°¡ ÃëÇß´ø Ä£ÀÚº»ÁÖÀÇÀû °æÇâÀº »çȸÁÖÀÇ Áß±¹À» ºü¸¥ ½Ã±â ¾È¿¡ Å« °Ýµ¿ ¼Ó¿¡ ÀÖµµ·Ï ¸¸µé¾ú´Ù. ÀÌ·¯ÇÑ °Ýµ¿ÀÇ »î¼Ó¿¡¼ ºÎµúÈ÷¸ç ±×·Á³»´Â ¸ðµç ¼ø°£ÀûÀÎ °Íµé°ú ±×µéÀÌ Á¢ÇÒ ¼ö ÀÖ´Â ¸Åü¿ÍÀÇ ¸¸³². ±×¸®°í Áï½ÃÀûÀ¸·Î Ç¥ÃâÇϰųª Ç¥Ãâ°ú µ¿½Ã¿¡ °í¹ÎÇÏ´Â ÁöÁ¡. ±×°ÍÀ¸·Î¼ ¼±ÅÃµÈ ¹ßÈÁöÁ¡ÀÌ´Ù.
ÀúÀÚ´Â ÀÌ·¯ÇÑ ÁöÁ¡À» ÅëÇØ Æ÷½ºÆ® »çȸÁÖÀǸ¦ »ì¾Æ°¡°í ÀÖ´Â Áß±¹ÀÇ º¸Åë »ç¶÷µéÀÌ Àо´Â ÁöÁ¡À» ã°íÀÚ ÇÑ´Ù.
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¢º Å°¿öµå ±×¸®°í Ã¥À» Æì¸é¼?004
Keyword and read a book before
¢º ¡¯78³â ÀÌÈÄ Áß±¹´ë·ú¿¡¼´Â ¿Ö »õ·Î¿î À̹ÌÁö ¾ð¾î¸¦ ãÀ¸·Á ÇÏ¿´´Â°¡?017
Why the Mainland China has been seeking a new Image language after 1978
Side ONE
Á¤Áö À̹ÌÁö ¾ð¾î-¹Ì¼úStill Image Language-Art
¢º Á¤ÁöµÈ À̹ÌÁö ¾ð¾î·Î¼ ¹Ì¼úÀ» ÀÌÇØÇϱâ, ¾ÆÆ® À̹ÌÁö-¾ð¾î?035
Understanding of art as a language with a Still Image
¢º ¸ð´õ´ÏƼÀÇ »ó¡ ¡®º°¡¯?039
As a symbol of Modernity ¡®Stars¡¯
¢º 1980³â´ë ¾ÆÆ® À̹ÌÁö-¾ð¾î ȹµæÀÇ ¸ð½Àµé?049
In the 1980s
Part A. ÇàÀ§¿¹¼úPerformance Art: ÀÛ°¡°¡ ÀÛÇ°¿¡ Æ÷ÇԵDZ⠽ÃÀÛÇÏ´Ù?050
1. »çȸÁÖÀÇ ¹Ì¼úÀ» ºÎÁ¤ÇϱâTo reject Past
2. ÀÛ°¡ ÀÚ½ÅÀÇ ¸öÀ» ¼ÒÀçȽÃÅ°±âBody as Material
3. Á¢ÃËÇÏ°í üÇèÇÏ°í ±×¸®°í Âü¿©ÇϱâContact, experience and participation
Part B. ¼³Ä¡¿¹¼úInstallation Art: Ç¥Çö¸Åü°¡ È®´ëµÇ´Ù?084
1. ·¹µð¸ÞÀ̵åReady Made
2. ÆÛÆ÷¸Õ½º, ºñµð¿À, »çÁøPerformance, Video, Photograph
3. Á¶°¢Sculpture
¢º 1990³â´ë ¾ÆÆ® À̹ÌÁö-¾ð¾îµéÀÇ ¹æÇ⼺?123
In the 1990s
Part A. ³»ºÎÀû ¼Ò¿ëµ¹ÀÌ: ¡®³ª¡¯Inner-direction: Me?123
Part B. ¿ÜºÎÀû ¿å¸ÁÈ: ÀÚº»ÁÖÀÇ ¼ÒºñÀ̵¥¿Ã·Î±â¿Í ³ë½ºÅÅÁö¾î?135
External directions: the capitalist consumption Ideology and Nostalgia
¢º 2000³â ÀÌÈÄ »õ·Î¿î ¾ÆÆ® À̹ÌÁö-¾ð¾î °³³ä°ú ¡®Æ÷½ºÆ®¡¯ »çȸÁÖÀÇ?143
Since the year 2000
Part A. Áñ°Å¿òEnjoy lightly strictness?143
1. Áö³ »çȸÁÖÀǸ¦ ºñ¿ô±âLaughing at the past Socialism
2. Àιΰú ´ëÁß, »çȸÁÖÀÇ¿Í ÀÚº»ÁÖÀÇ »çÀÌ¿¡¼Among the People and Masses, Socialism and Capitalism
Part B. ÀÏ»óArticles as daily Use?175
1. Å°Ä¡Kitsch
2. ÀçÀοë°ú Á¶·ÕRe-reference & Derision
3. ¿©¼ºÀû ¼ÒÀç¿Í ³ëµ¿Áý¾àÀû ÀÛ¾÷The sexual material and labour-intensive art
¢º ÀιεéÀÇ »õ·Î¿î À̹ÌÁö ½Àµæ°ú À¯Åë?197
New Image acquisition and distribution
Side TWO
¿òÁ÷ÀÌ´Â À̹ÌÁö ¾ð¾î-¿µÈMoving Image language-Movie
¢º ¿òÁ÷ÀÌ´Â À̹ÌÁö ¾ð¾î·Î¼ ¿µÈ¸¦ ÀÌÇØÇϱâ, ¿µ»óÀ̹ÌÁö-¾ð¾î?205
Understanding of the film as a language with a Moving Image
¢º 1980³â´ë 5¼¼´ë °¨µ¶°ú ¿µ»óÀ̹ÌÁö-¾ð¾î?209
In the 1980s, fifth generation Director and Image-language
Part A. Çʸ§ÀÇ ¹°ÁúÀû Àνİú ±× Ç¥Çö, õīÀÌ°ÅChen Kaige?212
1. »õ·Î¿î ¼»ç±¸Á¶New narrative structure
2. Ä«¸Þ¶óÀÇ »ç½Ç¼ºRealism of the Image
3. ȯ¿ø½Ä ±¸Á¶¿Í À̹ÌÁö ÇÔ¸ôReduction type structure and Collapse Image
Part B. ¼¿ÇÁ¿À¸®¿£Å»¸®Áò°ú ¿µÈÀ¯Åë¸Á, ÀåÀ̸ð¿ìZhang Yimou?237
1. »ö, ¼ºColor, Sex
2. ¿©¼º, ¿À¸®¿£Å»¸®ÁòWomen, Orientalism
3. ÇãÀ§Àû ȯ»óA false illusion
4. ·Î¸Çƽ »çȸÁÖÀÇRomantic Socialism
Part C. 5¼¼´ë°¡ ÀνÄÇß´ø ¿µ»óÀ̹ÌÁö ¾ð¾îfifth generation's Film Image-language?269
¢º 1990³â´ë ÀÌÈÄ 6¼¼´ë °¨µ¶°ú ¿µ»óÀ̹ÌÁö-¾ð¾î?280
Since the 1990s, sixth generation Director and Image-language
Part A. 6¼¼´ë ¿µÈ¹ÌÇÐÀÇ Æ¯Â¡sixth generation features of the film Aesthetics?284
1. ÆÇ´ÜÀ» À¯º¸ÇÏ´Â ±â·ÏµéTo reserve judgment records
2. °ÅºÎ°¨ÀÇ ¹ÌÇÐThe aesthetics of resistance
3. Çö½ÇÈÇÏ¸é¼ »çÀ¯ÇÏ´Â »õ·Î¿î ¼»çA new narrative that to be realization and Thinking
Part B. ¾ÆÆ® À̹ÌÁö¿Í ¿µ»óÀ̹ÌÁöÀÇ »óÈ£ÂüÁ¶¿Í °áÇÕ?304
Art Image and Film Image combined with cross-references
Part C. ¿ª»ç¸¦ »õ·Ó°Ô ¾²°Å³ª ±â·ÏÇϱâNew Writing or recording history?317
Part D. 5¼¼´ë, 6¼¼´ë·Î¼ÀÇ ÀǹÌThe meaning of the fifth generation, sixth generation?329
¢º Æ÷½ºÆ® »çȸÁÖÀǽñ⠡®À̹ÌÁö-¾ð¾î¡¯ÀÇ º¯ÈÁöÁ¡°ú °¡´É¼º?338
Possibility of a change of Image language in the Socialist period
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