金基德电影中的禅意研究

发布时间：2018-05-02 22:23

本文选题：金基德 + 电影禅意　；参考：《西南大学》2017年硕士论文

【摘要】：韩国导演金基德自1996年开始拍摄电影《鳄鱼藏尸日记》起,其镜头便对准了韩国的边缘类人群,他的影片在本国并不受欢迎,大多数韩国影人认为他的电影风格太过粗鲁和残暴,影片中也深深的表达了金基德本人一种民族之“恨”。但是,在西方,他的电影却深受欢迎,也曾拿下了众多西方电影节的多个大奖。自2003年起,金基德电影中的愤怒情绪开始减弱,镜语变得日渐平和,影片格调也温婉柔和了很多。《春夏秋冬又一春》拍摄于2003年,这部影片是金基德电影风格的转变,它用饱含禅意的唯美画面向观众展示了一个宗教故事。从这之后,他的电影中便经常表达轮回和救赎的主题,画面里也不断出现佛教的意象。我们不能把金基德的这部分电影归结为宗教电影,因为导演并非在传达宗教教义,但是其影片的主题和意象却通过宗教的意象表达出了一种淡淡的禅意。如果把2003年当作金基德电影格调的一个分水岭,那么本文的研究文本便是2003年后金基德拍摄的部分影片。笔者基于众多国内金基德电影的研究理论文献基础,提出自己的观点,从金基德2003年后创作的电影文本出发,从禅的本体、方法和审美体验,分别对应金基德电影中人物、主题和审美范畴三个角度来论述电影中禅意的表达。文章共分为五章,第一章主要阐述禅意的内涵以及在金基德电影中的表达。从佛教剥离而出的禅在发展和流变中如何产生禅意的概念,以此来论述金基德电影中的禅意对解读金基德电影的重要性。第二章从“禅意”的本体“心”出发,分析金基德电影中对于人物“心”的阐述,以及人物通过意念和超现实隐含的禅意。第三章从“禅意”的方法“悟”出发,论述金基德电影中人物的“悟”,以及通过“悟”去理解金基德故事中表达的富含禅性的主题。第四章从“禅意”的审美范畴出发,分析金基德电影中意象的营构和意境的表达,从“心”和“境”的角度来阐述其电影画面所呈现的独特东方美意境。第五章从东方电影的视角论述东方电影禅的传统和未来。在金基德的镜头下,人和动物一样,都是自然中的生命,他不断用电影探索着人与人、人与自然之间的关系,把对世人的教化寄托在更深的层次上。
[Abstract]:South Korean director Kim Kid has been shooting the Crocodile Dead Diary since 1996, and his shot has been aimed at the fringes of South Korea, whose films are not popular in his country. Most South Korean moviegoers consider his film style too rude and brutal, and deeply express Kim Kidd's own "hatred" of his own nation. In the West, however, his films are popular and have won numerous awards from Western film festivals. Since 2003, the anger in the Kim Kidd film has weakened, the mirror language has become more and more peaceful, and the style of the film has become much softer. "Spring, Summer, fall, Winter and Spring" was made in 2003, and this film is a change in the style of the Kim Kid movie. It shows a religious story to the audience with a beautiful picture of Zen. Since then, his films have often expressed the theme of reincarnation and redemption. We cannot attribute this part of the film to a religious film, because the director is not conveying religious teachings, but the theme and image of the film express a light Zen meaning through the religious image. If the year of 2003 is regarded as a watershed in the style of Kinchie's films, then the research text of this paper is part of the films shot by Kinchie after 2003. Based on the theoretical literature of many domestic Kinchie films, the author puts forward his own viewpoint, starting from the film texts created by Kim Kidd after 2003, starting from the Noumenon, method and aesthetic experience of Zen, respectively, corresponding to the characters in Kim Kidd's films. This paper discusses the expression of Zen in the film from the three angles of theme and aesthetic category. This paper is divided into five chapters. The first chapter mainly expounds the connotation of Zen and its expression in Kim Kidd's films. How to produce the concept of Zen in the development and evolution of Zen, which is separated from Buddhism, is used to expound the importance of Zen in Kim Kidd's films. The second chapter starts from the Noumenon "Heart" of Zen, analyzes the exposition of the character "Heart" in Kim Kidd's films, and the Zen meaning implied by the characters through ideas and surreal. The third chapter starts from the method of "Zen", and discusses the characters'"enlightenment" in Kim Kidd's films, as well as understanding the Zen themes expressed in his stories through "enlightenment". The fourth chapter starts from the aesthetic category of "Zen", analyzes the expression of imagery and artistic conception in Jin Kidd's films, and expounds the unique oriental aesthetic conception of his film picture from the angle of "heart" and "realm". Chapter five discusses the tradition and future of Zen from the angle of oriental film. In the lens of Kim Kid, like animals, man is the life of nature. He constantly explores the relationship between man and man, man and nature, and places his enlightenment on the world at a deeper level.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911

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