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The Chinese dereal comedy in the age of globalization

  • The Journal of Study on Language and Culture of Korea and China
  • Abbr : JSLCKC
  • 2008, (17), pp.481-504
  • DOI : 10.16874/jslckc.2008..17.023
  • Publisher : Korean Society of Study on Chinese Languge and Culture
  • Research Area : Humanities > Chinese Language and Literature
  • Published : August 31, 2008

Myung-suk Kim 1

1위덕대학교

Candidate

ABSTRACT

Director Ning Hao's Crazy Stone is a funny caper flick of Mainland China, featuring an ensemble cast of characters who find themselves at cross-purposes over the fate of a precious jade stone. This inventive low budget flick hinges on the unearthing of a valuable jade stone. While each side has their own intricate plan to swipe the jade, serious complications, misunderstandings, chance encounters, and all sorts of crazy situations ensue, all building one on top of the other, as we speed onward to the film's exciting, hilarious finale. This film seems to be shot referring to the genre of Hollywood cime comedy as Steven Soderbergh's Ocean's 11. This paper plots the special system of coordinates between East and West, and between superpower nation and developing nation comparing Crazy Stone with Ocean's 11. Through this comparison, we could perceive the social aspect at the microcospic level that two cime comedies reflecting, and the itinerary of change that follows masse's sight reveals in the concrete. This film shows how Chinese film can transform in crime comedy as the various discourses popular after 1990's in China. This film rather demote the gangsters who is the symbol of anti-organization to the interface of organization than promote them to the heroic being as in Hongkong noir. The communication and cooperation between the exclusive wall that separating innerorganization and outerorganization actually started from this film in Mainland China. As was the case with the postmodernism wave, after 1997 Hongkong's handover, it was dut to the epistemological, aesthetical paradigm shift that changed the whole Chinese and Hongkong society. This film was released unexpectedly, and we could find the peculiarity what the release atfter the early 90's of Hongkong noir's heyday means. I would conclude, however, that this film can be high grossing film, but can not be succes de scandale. Therefore, I look forward to the release of the secuel to this film, that can break down the barrier―Chinese cime comedy―between the organization and antiorganization in the name of true authorism.

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