earticle

영어

Jia Zhangke’s film is mainly made up of the “cold image” of long shot. On the contrary to this, he introduces a very ‘warm’ strategy in sound which is another element of the film. Jia Zhangke's soundtrack matches the mainstream dramaturgy and gives a very sentimental feeling that resonates with the person's feelings. However, most audiences around the world, except Chinese, cannot feel that inspiration. For this reason, Jia Zhangke has been evaluated to take a cold-hearted view of the problems of Chinese society. The dramaturgy of Jia Zhangke is not limited to analyzed in my article. From his debut film to his latest film , even or , which is classified as a documentary, the strategy of synchronizing with characters through music is revealed. Of course, the way Jia Zhangke uses sound is not always melodramatic. If the music is not the mainstream popular song, it is neutral and maintains a proper distance from the character. In bridge shots that connect scenes and sequences that make up the narrative units, he does not match the emotions of the characters but uses disharmony or asynchronous music (sound) without exception. Jia Zhangke is aiming at both the immersion and the alienation effect on the drama by crossing the cold and warm strategy in images and sounds. Therefore, the production of proper ‘aesthetic distance’ is the role of sound in the film of Jia Zhangke. In diegesis, he pursues music that resonates with the characters and the story, and at some point he maintains a cool distance in non-diegesis. The moment when the artist's self-consciousness that maintaining aesthetic distance is the obligation of the person who holds the camera dominates him, the unfamiliar and bizarre sound gets in his film. The cool image that keeps the distance and the warm sound that surrounds the audience at close range, their dialectical confrontation will cause the ‘cold melodrama’ to be felt in .