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영어

The purpose of this paper is to study in detail how the movies of 6th generation of China and the movies of Korea exclude or describe the city surroundings and to extract the locality of city surroundings and the necessary conditions for locality formation. The movies of 6th generation of China and the movies of Korea in 1970s appeared in the period of initial industrial stage of the countries under the circumstances of strict national censorship and control. The movies had great interest in marginal men in cities and the surroundings of cities that were actively formed in the period. They had no other option but to take independent production method. As a result, the 6th generation movies enjoyed political freedom. The power of recognizing themselves as outsiders or marginal people became an important foundation that can describe marginal men in cities and city surroundings realistically. While Korean movies in 1970s saw the marginal men in cities and city surroundings with limited viewpoint, the initial 6th generation movies of China described themselves with the viewpoint of outsiders of their system. Consequently, the 6th generation movies of China and Korean movies in 1970s tend to describe the abstraction of marginal men and the surroundings of cities due to viewpoint and the identity of movie directors. But they paid sincere attention to marginal men and the surroundings of cities. They tried to find the locality of surroundings through the escape from center and damage. Since late 1990s, the movies of both countries describe the centers of cities scattered as abstract secret rooms on the path to the centers of cities realistically. These movies consecutively show the conditions of locality with identity, viewpoint and relation.