金基德电影中边缘人物的生存状态

发布时间：2018-05-25 07:39

本文选题：金基德 + 边缘人　；参考：《云南艺术学院》2014年硕士论文

【摘要】：画家金基德、士兵金基德、导演金基德、流浪者金基德，所有这一切都不是金基德的全部，也许他还有很多不为人知的其他方面，但所有这一切构成了一个出现在公众视野中的金基德。《野兽之都》入选第16届温哥华国际电影节，开启了金基德电影写入电影史并在世界范围内广泛流传的前奏。金基德没有受过任何系统的电影理论学习，却凭借着自己的努力和天赋以独具绘画美的镜头语言，影片主题的暴力、残忍，，非凡的想象力，绝对个性化的影像风格和对人性的深刻思考在韩国乃至世界影坛上占据一席之地。在他的电影中，边缘人是他主要表现的对象，正如金基德自己的多重身份一样，这些边缘人有艺术爱好者有士兵有流浪者……在电影中他常用一种独特的电影语言表现边缘人物所处环境的压抑，边缘人在他的电影里是被隔离的，他们的所处环境是绝望的是需要自救一个群体。本文正是以边缘人这个特殊的群体为切入点对金基德的电影艺术进行系统而深入的探索分析，主要通过其影像文本内容着眼，从道德伦理宗教角度阐释金基德影片的内容特色，并结合韩国的政治经济状况，韩国历史和韩国国民的民族性格等方面对金基德影像形成的特殊社会语境进行探讨。“失语”是他常用来表现边缘人的一种方式，然而零星的对白非但没有为电影的叙事带来不足，反而成了金基德电影的风格，“失语”结合着金基德独具特色的电影语言和独具特色的电影风格，细节和动作共同补充一个完整的电影。目前，我国对金基德电影的研究还有一定的局限性，他们大多都立足于导演对镜头运用的角度去探索电影美学风格和影像特点，而很少从思想性的角度去考虑金基德电影题材的诞生，实际上不论是镜头、影像还是声音都是为了更好的表现人物，作为编剧金基德，人物是从文化的土壤中提炼出来的，边缘人的这个切入点是金基德导演探讨人性、人生、命运同文化土壤相连接的一个有力道具。本文也会结合金基德本人早年的生活经历，对其深层的创作心里和动机进行挖掘分析和研究。所有这一切只为更全面的展现金基德和他镜头中的边缘人物，近年来金基德日渐平和内敛的影像风格正在缩小他同大众之间的距离，相信这样的金基德会越来越被观众接受和喜欢。
[Abstract]:Painter Kim Kidd, soldier Kim Kidd, director Kim Kidd, Rangers Kim Kidd, all of this is not all about Kim Kidd, maybe he has a lot of other things he doesn't know about. But all of this constitutes a popular prelude to the 16th Vancouver International Film Festival, which is written into the history of the film and widely spread around the world. Without any systematic study of film theory, Kincaid has relied on his own efforts and talents to paint beautifully in lens language, in the subject of violence, in cruelty, in extraordinary imagination. The absolute individualized image style and the profound thinking of human nature occupy a place in the Korean and even the world movie world. In his films, fringe people are his main targets, just as Kincaid has his own identity. These fringe people have art lovers, soldiers and vagabonds. In the film, he often uses a kind of unique film language to express the repression of the environment in which the marginal characters are living. The marginal people are isolated in his films, and their environment is desperate and needs to save a group of people. This article is a special group of marginal people as the breakthrough point of the film art of Kim Kidd system and in-depth analysis, mainly through the content of the image text, from the point of view of moral, ethical and religious interpretation of the content features of the film. Combining with the political and economic situation of Korea, the history of Korea and the national character of Korean people, this paper probes into the special social context of the formation of Kim Kidd's image. "aphasia" is a way he often uses to express the marginal people, but sporadic dialogue has become the style of Kinkyder's films rather than the narrative of the film. Aphasia combines Kim Kidd's unique film language with unique film style, details and actions to complement a complete film. At present, there are still some limitations in the study of Kim Kidd's films in our country. Most of them are based on the perspective of the director's use of the lens to explore the aesthetic style and image characteristics of the film. But rarely from the ideological point of view to consider the birth of Kim Kidd's film subject matter. In fact, both the lens, the video and the sound are all for the better performance of the characters. As a screenwriter, Kim Kidd, the characters are extracted from the soil of the culture. This entry point for marginal people is a powerful props that Kim Kidd talks about human nature, life, destiny and cultural soil. This paper also analyzes and studies his deep creative mind and motivation in combination with his early life experience. All of this is just for a more comprehensive display of Kim Kidd and the marginal characters in his lens, whose more peaceful and introverted image style in recent years is narrowing the distance between him and the public. I believe that this kind of Kim Kidd will be more and more accepted and liked by the audience.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】