중국과 한국의 영화 각색 사례에 나타난 텍스트 확장성과 의미론적 체계 연구

Abstract

This paper is a study that started from the fact that in the production and formation of new content, not only the remediation of the original source, but also the relationship of mutual content influence between countries is constantly being considered. We will focus on cases where the novel was remade into a movie, then moved to a country, and then remade into a movie. Annie Baobei's novel 『Qiyue and Ansheng(七月与安生)』 was remade into the Chinese movie <Soulmate(七月與安生)> directed by Zeng Guoxiang(曾國 祥). In Korea, it is reborn as <Soulmate> directed by Min Yong-geun, and the characteristics of media transformation and adaptation revealed in this process are extracted. As novels are adapted into films, changes are accompanied by differences in narrative style and video media. In particular, it shows the characteristics of transformation and adaptation in the form of narrative loosely integrating not only the original short story but also several other short stories. This goes beyond the 'faithful adaptation' of the original work and materializes the generational critical mind of 'Beifiao', which is different from the original work, through the change of viewpoint and the expansion of narrative details. Meanwhile, the secondary creations made in this way are remade again in Korea, and in this third creation, more emphasis is placed on the characterization of the characters, breaking away from the 'faithful adaptation' of the existing films. In addition, while bringing the womance of female characters and generational critical mind, it is reset to fit the reality of Korea in the 2020s. In this process, it shows a critical look at the situation in which the problem of the gap between the rich and the poor and the value of vulgar success are particularly problematic for female characters. Through the adaptation work according to such media transformation, each creation shows a different point of view while sharing one original narrative. As the process of adapting the original work overlaps and expands through stages, the works acquire their own unique aesthetic system and thematic direction. This overturns the hierarchical relationship of original narratives in comparative studies and shows that adaptation can function as a free creative work without being conscious of anxiety about influence.