중국 소수민족 애니메이션의 사회문화적 의의

Abstract

Since the founding of the People's Republic of China in 1949, China has become a multi-ethnic nation consisting of Han Chinese and 55 ethnic minorities. The Chinese government has implemented various ethnic minority policies in different periods since the beginning of its founding, and its ultimate purpose is to push for "pluralism," where cultural diversity coexists in a "unified" single state system. Thus, this paper examines the representation of the cultures of Chinese ethnic minorities in animation, the related effects on socialist discourse of the Chinese government, and the social significance of these outcomes. The first part of this study analyzes how ethnic minorities in China are defined and examines the pluralistic framework of Chinese ethnic groups as delineated by Fei Xiaotong while also dealing with the characteristics of Chinese ethnic minority policies and traditional cultures, with a focus on literature. The second part of the study focuses on the characteristics of minority animation by analyzing the reflection of the socialist mainstream discourse, traditional cultural elements of ethnic minorities, and period-based story types and characteristics considering the following three development periods of China: the New China Formation Period (1949-1976), the Reform and Opening Period (1977-1999), and Modern China (2000 – Present). Chinese minority animation depicts reenactments of socialist discourse according to the period, displaying unity among the Han and ethnic minorities as well as collectivism, role models, and traditional ethnic cultures based on folklore and legends. Chinese minorities not only have important strategic and sociocultural significance in terms of security and natural resources, but also in terms of the unity of the Chinese people. This unification develops through the realization of socialist values, encompassing cultural diversity through the coexistence of multi-ethnic people.