本文選題：金基德 + 邊緣人��； 參考：《云南藝術學院》2014年碩士論文

【摘要】：畫家金基德、士兵金基德、導演金基德、流浪者金基德，所有這一切都不是金基德的全部，也許他還有很多不為人知的其他方面，但所有這一切構成了一個出現在公眾視野中的金基德�！兑矮F之都》入選第16屆溫哥華國際電影節(jié)，開啟了金基德電影寫入電影史并在世界范圍內廣泛流傳的前奏。金基德沒有受過任何系統的電影理論學習，卻憑借著自己的努力和天賦以獨具繪畫美的鏡頭語言，影片主題的暴力、殘忍，，非凡的想象力，絕對個性化的影像風格和對人性的深刻思考在韓國乃至世界影壇上占據一席之地。 在他的電影中，邊緣人是他主要表現的對象，正如金基德自己的多重身份一樣，這些邊緣人有藝術愛好者有士兵有流浪者……在電影中他常用一種獨特的電影語言表現邊緣人物所處環(huán)境的壓抑，邊緣人在他的電影里是被隔離的，他們的所處環(huán)境是絕望的是需要自救一個群體。本文正是以邊緣人這個特殊的群體為切入點對金基德的電影藝術進行系統而深入的探索分析，主要通過其影像文本內容著眼，從道德倫理宗教角度闡釋金基德影片的內容特色，并結合韓國的政治經濟狀況，韓國歷史和韓國國民的民族性格等方面對金基德影像形成的特殊社會語境進行探討�！笆дZ”是他常用來表現邊緣人的一種方式，然而零星的對白非但沒有為電影的敘事帶來不足，反而成了金基德電影的風格，“失語”結合著金基德獨具特色的電影語言和獨具特色的電影風格，細節(jié)和動作共同補充一個完整的電影。 目前，我國對金基德電影的研究還有一定的局限性，他們大多都立足于導演對鏡頭運用的角度去探索電影美學風格和影像特點，而很少從思想性的角度去考慮金基德電影題材的誕生，實際上不論是鏡頭、影像還是聲音都是為了更好的表現人物，作為編劇金基德，人物是從文化的土壤中提煉出來的，邊緣人的這個切入點是金基德導演探討人性、人生、命運同文化土壤相連接的一個有力道具。本文也會結合金基德本人早年的生活經歷，對其深層的創(chuàng)作心里和動機進行挖掘分析和研究。 所有這一切只為更全面的展現金基德和他鏡頭中的邊緣人物，近年來金基德日漸平和內斂的影像風格正在縮小他同大眾之間的距離，相信這樣的金基德會越來越被觀眾接受和喜歡。
[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.
【學位授予單位】：云南藝術學院
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905

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本文編號：1932637