사회문제극에서 반공선전의 무기로 - 양안의 시각에서 『만약 내가 진짜라면』읽기

Abstract

China"s reformists, represented by Deng Xiaoping, took the helm at the third plenary session of the eleventh central committee held in December 1978. As a result, China faces a ‘new era’ with the socialist modernization drive as a new policy. At the 4th National Congress of Literature and Art Workers of China held in October the following year, the literary and artistic circles reaffirmed the declaration of the third plenary session, which guarantees freedom of creation and ideological emancipation. However, the scope of the permission and the specific creative policies remained unclear, which came out of the wild debate over several works. Among the works, “If I Were for Real”, which is based on the fraud of a ‘Educated youth’ in Shanghai in 1978, had a huge impact on Chinese society and was effectively banned from performing in early 1980. Interestingly, however, it was made into an anti-communist film in Taiwan in 1981 shortly after it was banned in China, and swept awards at the 8th Kummajang Film Festival, triggering a competition between China and Taiwan for cultural propaganda at the end of the Cold War. Noting this cultural phenomenon, the article analyzes the special historical contexts of China and Taiwan and the cultural manifestations of each country surrounding works during the transition period from the Cold War to the Post-Cold War.