‘중국몽(中國夢)’시대 ‘작가주의’적 애니메이션 탐색 - < 大世界(Have a nice day) >를 중심으로

• Published in: Journal of Sinology and China Studies Vol. 79; no. null; pp. 145 - 164
• Main Authors: 안영은, Ahn Young Yeun
• Format: Journal Article
• Language: Korean
• Published: 한국외국어대학교 중국연구소 01.06.2019; 중국연구소
• Subjects: Adult animation; Auteurism; China dream; Chinese modern art; Diverse fragments; Pictorial visualization; Realistic aesthetics; 중국어와문학
• ISSN: 1225-8695; 2713-5950
• DOI: 10.18077/chss.2019.79..008

The narration of < Have a nice day > is complex and clear. Even though diverse characters tangled up create the detailed narration surrounding money, eventually, nothing is left except for ‘money’. The description of character form/characteristics, and the spaces where they are fully shows the characteristics of this animation. This work contains the extreme-realistic techniques shown in the description of characters or spatial background and the popular styles of Chinese modern art as an ex-painter director, for example, the styles of political pop art or cynical realism. The influence of modern art on the whole work is dominant, which is good enough to be called the animation-like representation of political pop art and cynical realism. Besides the narration or character form, there are several reasons why this animation has attracted the notice of the world. First, the director completed this animation all alone over the years. It could be so called ‘auteurism animation’. Moreover, the world handled by this animation is completely the world of adults. This might be the reason why the animation poster specifies that this is only for adults. It is not common in the history of Chinese animation that has considered child education as the biggest value. This thesis is largely divided into two parts. First, this thesis defines < Have a nice day > as an adult animation in the auteurism style, and then discusses the ‘auteurism’ and ‘adult contents’ of animation. Second, this thesis discusses the ‘realistic aesthetics of animation’, ‘pictorial visualization of Chinese modern art’, and ‘China dream and diverse fragments’ under the theme of animation aesthetics in the era of China dream.