【作者】 杜瑾；

【导师】 张文初；

【作者基本信息】 湖南师范大学 ， 文艺学， 2011， 硕士

【摘要】 在当代影视界形形色色的暴力美学中,金基德电影中的暴力美学内涵既不同于吴宇森“浪漫主义的诗意暴力”,也不同于北野武的“批判现实主义的深沉、孤独、冷峻”风格,更不同于昆汀·塔伦蒂诺“后现代主义的喧嚣、玩闹”气质。他的暴力美学具有明显的批判意蕴和社会反思价值,其锋芒所向,直指社会的弊端和人性的弱点,让人感受到了一种渗入骨髓的冷意。他影片中的种种暴力行为,无论是出于对战争的控诉和对社会不公的愤懑,还是由于人性本身的弱点所导致的绝望,或是为了实现对自己灵魂的救赎,金基德表现上述内涵的时候都投以悲悯的目光,同时伴有一种氛围浓郁的宗教情怀。正是在这一点上,他电影中血淋淋的暴力场面和画面的唯美静谧实现了契合,形成了自己独特的暴力美学意蕴。在表达暴力的同时,他没有仅仅停留在表层的影像画面上,而是对人物暴虐的心理成因进行了深入的思考和独特的发现,从而体现出深刻的文化内涵。同时金基德所体现出来的宗教救赎和人性回归的思想让观众在感受到暴力的残酷所带来的震惊体验的同时,也使人们在沉浸于社会以及人性本身的深邃反思时获得心灵的净化和文化的提升。本文从四个方面论述金基德的“暴力美学”。第一部分论述其暴力的表现形式。从电影中血淋淋的自残自虐和虐他的两个方面展示了金基德的主人公们残忍的暴力行为。第二部分论述了暴力美学的文化内涵。金基德站在暴力的反面描写暴力,通过对暴力成因的挖掘,不管是对战争的控诉、社会的愤懑,还是人性本身的弱点反思本身,都表达出了导演对于无暴力社会的一种期望。第三部分,暴力表现的视角与旨归。这一部分深入地探讨了金基德影片中人物自残自虐的精神倾向,即是实现宗教救赎和自己灵魂良善的回归。第四部分论述了暴力的艺术表现形式。金基德不仅在影片的内容上寻求人的救赎之道,而且也极力营造与之相和谐的自然环境与文化氛围。他电影中血淋淋的暴力场面与画面的唯美情致相契合,形成了自己独特的暴力美学特色。更多还原

【Abstract】 Contemporary film and television industry in all kinds of violence and aesthetics, Kim Ki-duk film aesthetic connotations of violence is different from John Woo, "the romantic poetic violence", also from Takeshi Kitano’s "critical realism of the deep, lonely, cold", but also different·Quentin Tarantino in the "post-modernist noise, slapstick." His aesthetic of violence has obvious value of critical reflection and social meaning, cutting edge and is the directed social disadvantages and weaknesses of human nature, people felt a chill into the bone marrow. His acts of violence in the film, whether for the prosecution and the war against social injustice, resentment, or due to the weakness of human nature itself, the despair caused by, or in order to achieve the salvation of his soul, Kim Ki-duk in its show compassion when they are cast to the eyes, accompanied by an atmosphere of strong religious feelings. It is at this point, his bloody violence in the movie scenes and pictures of the beautiful quiet realization of the fit, form their own unique aesthetic implication of violence. In the expression of violence, he did not just stop at the surface of the imaging findings, but on the psychology of the characters oppressive conducted in-depth thinking and unique performance, which reflects the deep cultural connotation. Kinkead also reflected by the return of religious redemption and humane ideas to the audience feel the violence of the shock caused by the cruel experience, but also so that people immersed in their own society and human nature when you get deep reflection and purification of the mind cultural enhancement.In this paper, four aspects Kim Ki-duk’s "aesthetics of violence.The first part discusses the manifestations of violence. Bloody self-mutilation from the movie of his self-torture and abuse both heroes show Kinkead’s brutal violence.The second part discusses the aesthetics of the cultural connotation of violence. Kim Ki-duk’s negative depiction of violence stand in violence, the causes of violence through the excavation, whether the complaint of war, social resentment, or reflect the weaknesses of human nature itself, themselves, have expressed a director for a non-violent social expectations.The third part, the performance perspective of violence and Goal. This section discusses in depth the characters in Kim Ki-duk film the spirit of masochistic self-mutilation tendencies, that is to achieve religious salvation and the return of his soul good.The fourth part discusses the artistic expressions of violence. Kim Ki-duk is not only the content of the film to seek people’s salvation, but also tried to create a natural environment in harmony with them and the cultural atmosphere. He films the bloody violent scenes and fantastic images fit with the aesthetic form of violence in their own unique aesthetic.更多还原