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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Kim, Ki-Duk, who directs 12 films from 1996, has been hot issued in Korea film industry and critics. Among those issues, The most critical one was sadomasochism in his works. However, his style on the works was not studied in detail, compared to the content. This theme's mayor is the stylistic analysis of his works. Here, I divide his works to three period, the first one is the period which follows the classic Hollywood style, The second one is which the transitional period which change to a poetic language and the last one is the period of a poetic language.
The works in first period have common-things, regarding to the creation of cinematic space, the use of props which bring in oneself's ruin and peeping as narrative tool, director's romanticism.
I can find Kim, Ki-duk's careful attitude to a world in 〈Spring, Summer, Fall, Winter and Spring〉. He doesn't conflict with it anymore. In stylistic term, the cuts become larger and longer, the beauty of character's movements appears and the montage between image and sound just starts in the work. 〈Samaria〉's last sequence which characterized the cars with a parenthood is the beginning of a poetic language.
The period of a poetic language is 〈Empty house〉 and 〈The Bow〉. In 〈Empty house〉, main character deletes by himself to get one's love and it represents director's mature attitude compared to previous works. The director show main character' attempt which try to disappear and finally make him disappear, but viewers believe that he is still in frame. It is very remarkable cinematic method which nobody try before. The main character sacrificed by himself in 〈The Bow〉 and it means that his behavior for pure love reaches to religious realm. This work is full of metaphor and the metaphor attains a higher level. Kim, Ki-Duk's work becomes mythological and poetic language at last.
The works in first period have common-things, regarding to the creation of cinematic space, the use of props which bring in oneself's ruin and peeping as narrative tool, director's romanticism.
I can find Kim, Ki-duk's careful attitude to a world in 〈Spring, Summer, Fall, Winter and Spring〉. He doesn't conflict with it anymore. In stylistic term, the cuts become larger and longer, the beauty of character's movements appears and the montage between image and sound just starts in the work. 〈Samaria〉's last sequence which characterized the cars with a parenthood is the beginning of a poetic language.
The period of a poetic language is 〈Empty house〉 and 〈The Bow〉. In 〈Empty house〉, main character deletes by himself to get one's love and it represents director's mature attitude compared to previous works. The director show main character' attempt which try to disappear and finally make him disappear, but viewers believe that he is still in frame. It is very remarkable cinematic method which nobody try before. The main character sacrificed by himself in 〈The Bow〉 and it means that his behavior for pure love reaches to religious realm. This work is full of metaphor and the metaphor attains a higher level. Kim, Ki-Duk's work becomes mythological and poetic language at last.
목차
1. 들어가며
2. 〈악어〉부터 〈해안선〉
3. 〈봄, 여름, 가을, 겨울 그리고 봄〉에서 〈활〉
4. 세계관의 발전-주체의 대응방식 변화
5. 맺는 말
참고 문헌
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