KJCKorea
Journal Central

What Gu Chang-wei draws attention of criticism and audience is begun from bringing life and destiny of people, who proceed with living in China now, into the screen. The themes, which penetrate his 3 pieces of movies <Peacock>, <And the Spring Comes>, <Life Is a Miracle>, result in a discourse on social relationship of reacting with which their dream meets with reality, in addition to ‘dream’ in common people who position in a frontier district even in China. A dream points to future from the present. In such sense, a dream is both a reason and a hope of life for future. However, its start can be considered to be put in the lack or anxiety of reality. Gu Chang-wei is specifying a ground of its hope and anxiety in his films. He is mentioning on diverse dreams of people, who proceed with living in the frontier space at the point of being crossed socialism and capitalism, and on the main agent of suppressing it. This study is tracing the process that relationship between dream and reality is expanded even into social significance while paying attention to his film style of continuously playing a variation of the dream in addition to the theme dubbed ‘an individual's dream,’ which is shown repetitively in Gu Chang-wei's work. The question about archetype of dream as saying that what is their dream? and how is a dream destroyed and sutured? will become an answer to why Gu Chang-wei is sticking to the topic of conversation on a dream. And in the process of getting solution on this question, Gu Chang-wei's thematic consciousness and filmic style will be able to be grasped.

Gu Chang-wei, dream, style, Peacock, And the Spring Comes, Love for Life