This study attempted the genre-based comparison as for the figuration of feudalism(patriarchal system), which appears in Raise the Red Lantern and the novel Wives and Concubines. Largely in two aspects, this study considered on the figuration of feudalism that is indicated in the movie Raise the Red Lantern and the novel Wives and Concubines, namely, on ‘the feudalism of desire and cannibalism,’ ‘the main agent of resistance and desire.’ In ‘the feudalism of desire and cannibalism,’ first, the symbol of a red lantern was analyzed. A red light has the twofold meaning in the movie. The red lantern is the repressive power of Qian zuoqian, and the symbol of feudalism. And as for a woman, it represents a desire of winning the love of the power. Second, it considered what expresses the desire and the murder of feudalism by using colors of red and blue. Red color is clearly showing the vertical relationship of power through sex. On the other hand, blue color can be mentioned to symbolize the feudalism of killing that punishes a woman who resists power without mercy. This is also the point that clarifies the part of having the most artistic value in Zhang Yimou’s movie. In ‘the main agent of resistance and desire,’ it analyzed which influence the transformation of a character has upon the narration focusing on Songlian and Yaner. Songlian resists feudalism. Yaner has a desire. But both of them correspond to a victim of feudalism as well.

장이머우의 영화 『홍등』은 쑤퉁의 소설 『처첩성군』을 개작하여 만든 영화이다. 본 논문은 영화 『홍등』과 소설 『처첩성군』에서 나타나는 봉건예교의 형상화에 대하여 장르간 비교를 시도하였다. ‘욕망과 식인의 봉건’에서는 첫째, 홍등의 상징을 분석하였다. 홍등은 영화에서 중층의 의미를 가지며, 봉건예교의 남성의 권력과 여성의 욕망을 상징한다. 둘째, 봉건의 욕망과 식인을 붉은색과 푸른색의 색채로 형상화하는 것을 고찰하였다. 이는 장이머우 영화에서 가장 예술적 가치를 지닌 부분을 밝히는 지점이기도 하다. ‘저항과 욕망의 주체’에서는 쑹렌(颂莲)과 옌얼(雁儿)을 중심으로 인물의 변형이 서사에 어떠한 영향을 미치는지 분석하였다.