상하이 글래머 — 대중매체에 나타난 상하이 재현의 문화적 전유 현상 고찰

초록

Glamour eventually stops working without imagination. The Shanghai image, which was initially born based on the Western Orient imagination, establishes itself as a typical aesthetic feature of the Concessions era. And various emotions for Shanghai were created by utilizing various material features representing it - qipao, fur coat, feathers, jewelry, lipstick, Waitan, dance hall, cafe, car, neon sign, etc. For example, the 1930s Hollywood film “Shanghai Express” links emotions such as danger, vice, curiosity, anxiety, escape, and charm with Shanghai through a beautiful prostitute called Shanghai Lily, revealing a kind of hierarchical discourse order. It is no exaggeration to say that Shanghai is still being repeated and reproduced as an elaborate replica based on the way of expression, representation, and association that inherited it. On the other hand, the recent representation of Shanghai by the mass media seems sophisticated and original, but it is actually judged to be on the path of constant coded self-replication. The glamour of the Jogye(租界) era, which has been intellectually transferred, is now re-exclusive to the original context by evoking other resolutions or commercializing it in various ways according to the logic of capital. However, the glamour of Shanghai and Shanghai images was combined with the modernity of the Concessions era and accepted as modernity itself regardless of the actual context. In the past, people flocked to Shanghai in search of work or to escape war, dreaming of wealth and success, and a comfortable and modern life. On the extension, the modern lifestyle of the Concessions era, which is reproduced by the mass media recently, provides specific hints and imaginations to the new Shanghai people who came to the city with their own hopes, amplifying their aspirations, expectations, and our projections.

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