오늘날 대중문화 영역에서 환상물은 한·중 양국에서 동시다발적으로 큰 인기를 누리고 있다. 특히 2010년부터 대중들은 현실적인 개연성으로부터 벗어난 환상의 서사를 열광적으로 소비하고 있다. 사실 21세기 한·중 양국에서 큰 인기를 끌고 있는 환상물의 유행은 한·중 양국이 정치·경제·문화적으로 대전환기를 맞이했던 1990년대부터 시작되었다. 한·중 양국에서 유행하는 환상물에 대한 통시적인 접근을 위해서는 1990년대 환상물에 대한 이해가 필수적인 것이다. 따라서 본고는 1990년대 한·중 영화에서 나타난 환상성을 비교·분석함으로써 2010년 이후 한·중 본격 환상서사를 효율적으로 비교·연구하고 그 논의의 구체화를 위한 토대를 마련하고자 한다. 본고는 한국영화 「은행나무 침대」(1996)와 중국영화 「진용」(1990)을 분석대상으로 하여 환상의 장르유형, 시간성, 사랑법의 측면에서 분석하였다. 한·중 영화 속 환상의 분화 지점을 자세히 살펴보면 한국 작품은 기이한 사건 앞에서 작중인물들로 하여금 심리적 망설임을 겪게 하는 ‘환상적 기이’에 속하고 중국 작품은 역사와 신화가 엮인 경이로운 사건 앞에서 인물들이 망설임을 겪지 않는 ‘순수 경이’에 속한다. 「은행나무 침대」는 현재와 과거의 긴장 관계에서 인물이 처한 정체성의 혼란을 기억된 감각으로 표상함으로써 현재지향적인 면모를 가지고 있다. 한편 「진용」은 시대충돌적인 공간이 반복되는 구성에서 인물의 정체성의 불안을 묘사하지만 현재와 과거의 전환 과정에서 과거지향적인 면모를 드러내고 있다는 점에서 「은행나무 침대」와 대조된다. 「은행나무 침대」는 과거와 현재의 사랑이 모두 완성된 사랑의 이중적 성취를 보여줌으로써 욕망 충족으로서의 환영을 제공한다. 반면에 「진용」은 과거와 현재에 모두 이루지 못한 사랑이야기를 만듦으로써 현실에 대한 성찰을 촉구한다.
The fantasy genre is nowadays enjoying tremendous popularity in the area of popular culture simultaneously both in Korea and China with the fantasy fever sweeping over the nations. As the physical and human boundaries have almost disappeared between films and television dramas since 2010, in particular, it has offered a bond of sympathy based on reality to the public through television. The public has accepted the fantastic narrative as dramatic fun. Attempts at this fantasy genre in Korea and China in the 2010s began in the 1990s, when the society of consumerism and commercialism itself changed to adopt a flexible attitude as people gradually developed doubts for realism and escaped from their obsession with the resistance of the fantastic literature. A question was thus raised about the genre characteristics and implications of the Korean and Chinese fantasy genre in the 1990s in the middle of these changes during the certain period. This paper aims at reviewing and analyzing The Gingko Bed(1996) of Korea and A Terracotta Warrior(1990) of China in three aspects, which include the genre type, method of loving, and connecting medium of fantasy, thus comparing and analyzing fantasy between Korean and Chinese films in the 1990s and investigating the inherent significance of fantasy. First, it appeared based on Tzvetan Todorov's fantasy genre theory that The Gingko Bed and A Terracotta Warrior fell under the fantastic uncanny and marvelous category, respectively. Secondly, according to the medium between reality and fantasy, the fantasy of The Gingko Bed focuses on the connection between memory and sense that connects harmoniously with the reality of the experience world. In comparison, the fantasy of A Terracotta Warrior is maximized in a conflicting space that unfamiliar with the reality of the experiential world. Finally, The logic of reality and fantasy is analyzed according to the way in which the relationship between the male and female characters develops. The Gingko Bed provides a realistic illusion by showing that both past and present love have been accomplished. On the other hand, A Terracotta Warrior calls for reflection on the reality by creating a love story that can not be achieved in a structure that is confronted with the past and the present. As for the point of fantasy differentiation in the Korean and Chinese films, the former have shown an inner connections and ensured that the change from the tradition to the modern by connecting the real world and the fantasy world through the fantasy sense and the psychological hesitation in the strange event which is deviated from the high status, whereas the latter had the shift from the tradition to the modern was reflected in the past directivity in the dilemma of the past, by highlighting the space where the old and new values and culture collide without the hesitation of the characters in the wake of the phenomenon of history and myths. By discussing the common fantastic elements of the Korean and Chinese films in the 1990s, the present study offered some implications to explore the conditions of the fantastic narrative shared across East Asia. They were characterized by an attempt at various types of the genre, dating narratives between the past and the present, and non-linear connection of the tradition and the present and differentiated from the future-oriented "time slip" narrative in Anglo- America and the existence style of fantasy stories that were completely different from our reality. Furthermore, the paper will serve as an introduction to understand better fantasy in Korean and Chinese image narratives since the 2010s and explore methods to compare and investigate the full-fledged Korean and Chinese fantasy genre.