Boundary And Diaspora: A Research On The Identity In Zhang Lv's Early Films

Zhang Lv,a Chinese film director in South Korea,whose works have repeatedly been awarded in the international film festival.He has deep experience in film direction and he is a new star of Asian film director highly expected.This paper consists of the introduction and four chapters.The introductory part mainly introduces the origin and significance of the topic of the paper,the current situation of the relevant research as well as the writing ideas and innovations of this paper,and puts forward the research value of the paper.The first chapter is a brief introduction to Zhang Lv and his films.Since Zhang is not that famous,this part is developed in three aspects including his life experience,his filming experience,and creative experience.In the induction of his works,the author makes a sorting of different periods.The paper focuses on the research of his early works.The early films of him lack the basic story,the method of processing images is fairly calm,and the general style is slightly cold and desperate.The films mainly focus on the uneasiness of the minority groups,showing anxiety and sense of drift caused by the ethnic identity and cultural identity.The second to the fourth chapter is a core part of the paper,combining identity theory with the analysis of film works.Among them,“Grain in ear”,“Dessert Dream”,and “Dooman River” are discussed in the second chapter,with their theme on “North Korean defectors”.By telling the wandering life of the protagonists with the same name,Zhang's thoughts on the anxiety of ethnic identity under the new era of dispersal are displayed.The combination of Chaoxianzu(Koreans in China)director and creating Korean film is multinational and cross-cultural,and the director's personal identity and artistic creation is closely related,which adds a strong sense of drift to the characters in these two films.Presenting people and events in the old city,“Chongqing” and “Iri” are expounded in the third chapter.These two films demonstrate the obedience and struggle of the protagonists as marginal person in the decaying city,reflecting the process of the individual losing its sense of security andbelonging during social change.The fourth chapter analyzes his first documentary film “Scenery”,which not only indicates his change in film types,but also reflects his different feelings and acquaintance after his long living in South Korea.On the whole,his early works are filled with banter of symbolization and the shooting technique is becoming increasingly diverse and sophisticated.His films are not only about ethnic minority(Chaoxianzu),but also pay attention to universal identity problem,trying to explore the common identity anxiety of people in the“liquid time”.