손주연 교수

The film Moon Man has garnered significant attention in Chinese media even before its release, being hailed as a milestone in Chinese cinema primarily due to its unique genre, technical prowess, and substantial investment. However, despite its success in China, Moon Man faced commercial failure upon its export to Korea. China’s efforts to cultivate soft power, fostering domestic cohesion while simultaneously promoting national branding and image enhancement on the global stage through content de

This article examines Chi Ta-wei’s science fiction novel The Membranes by focusing on how subjectivity is constituted and destabilized through the entanglement of humans and technology, approached from the perspective of “queer as attitude.” Rather than proposing a new identity or social order after overturning binary norms such as human/machine, male/female, and normal/abnormal, The Membranes foregrounds a subject that remains fundamentally unclassifiable. This study understands Chi Ta-wei’s co

This paper re-examines the life and achievements of Lin Huiyin(林徽因), China's first female architect, and focuses particularly on her distinctive architectural philosophy known as 'architectural meaning'(建築意). Lin Huiyin viewed architecture not merely as physical structures but as an art form imbued with historical, cultural, and aesthetic significance. Her designs creatively integrated Western architectural techniques with traditional Chinese architectural aesthetics, providing direction for mod

본 논문은 홍콩 경찰영화에 재현된 헤게모니적 남성성의 장르적 변화와 그 역사적·사회적 배경, 그리고 심층적 의미를 영화 <콜드 워>를 중심으로 분석한 것이다. 이를 통해 홍콩 영화에 내재된 헤게모니적 남성성의 변화를 탐색함으로써, 중국 사회, 특히 홍콩 사회의 이상과 작동 방식을 이해하는 것을 목표로 한다. 홍콩 경찰영화는 다양한 측면에서 헤게모니적 남성성과의 상호작용을 탐구하고 이를 표현해왔다. 이러한 경향은 홍콩 반환 이전부터 이미 나타났으며, 시대의 흐름에 따라 홍콩 경찰영화 속 헤게모니적 남성성 또한 변화하고 있음을 확인할 수 있다. 홍콩 경찰영화는 1986년 액션 영화 <폴리스 스토리(警察故事)>에서 2012년 <콜드 워(寒战))>에 이르기까지 내러티브의 중심이 변화해왔다. 초기에는 경찰과 범죄자가 선악의 대립 구도로 그려졌으나, 이후에는 경찰과 범죄자 간의 경계가 모호해지며, 서로 다른 이익집단 간의 정치적 갈등이 주된 내러티브로 자리 잡았다. 이러한 경향은 2021년 영

This study focuses on the literary world of Ban Yu, a representative writer of the “New Northeast Writers,” a group that emerged in the aftermath of industrial decline and mass layoffs in China’s northeastern region. Amid the growing cultural attention surrounding what is now referred to as the “Northeast Literary Renaissance,” Ban Yu has established a prominent position by actively incorporating northeastern dialects and elements of popular culture into his narratives, portraying the collapse o