고려대학교

초록/요약

As you can see in the above, of Shanghai’s historical plays during the Warring States Period in China, the heroine epic was very popular among spectators with the rising anti-Japanese slogans. Most of heroines were represented as “pure Chinese” on behalf of men since they shouted out the patriotism for their nation and devoted their life on the battlefield. These narratives show the situation in China which leans from enlightenment to old-fashioned and from individual to collective. In this respect, “Hua Mulan” is a bit of a problem. Unlike Li Xingjun, who fully embodied the traditional Chinese godfather, and Ge Nenniang, who embodied the ancient general, Hua Mulan is positioned to traverse between the two genders through disguising. In Ouyang Yuqian’s film, “Mulan, following the army”, this ambivalent status of Hua Mulan is expressed through both the eyes of Hua Mulan and Liu Yuandu. Liu Yuandu’s gaze serves to break up dichotomous order. In Liu Yuan-du’s eyes, typed Hua Mulan takes off his mask after the war, returns to the world to which he belongs and returns to the status of a traditional woman. And what made this possible was love. The intervention of the love narrative gives femininity to Hua Mulan and allows the conclusion of the great circle to be drawn without difficulty. The play “Hua Mulan” reveals the world of dichotomy more clearly. In the play, Hu Mulan also wanted to return to its own world after the war, but the reality of the play does not allow it. She, who took off the military insignia, is forced to choose two choices: the concubine or the death. Finally, choosing to die, she happens to be able to go back to the battlefield which she needs. she leaves for the battlefield again and decides not to come back. The ending of Hu Mulan represents wartime Chinese who was mobilized to the battlefield with “femininity” (weakness) deleted. It also shows that even if one wants to go back to a “idealized” traditional society, one can't go back (not live as a subject).