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20世纪90年代中后期,因为韩国电影审查制度的放松,韩国电影业得到了空前发展,一批批优秀的,风格各异的导演脱颖而出。金基德以他的独到的风格营造了属于他的个人空间和美学观念。他尊重他的内心创作,根据自己的风格拍摄。而其中,他的影片风格有一大明显的特征,即越来越淡化语言在影片中的功能。金基德本人称:“沉默也能给人家一种深奥的感觉,并且我觉得语言并不能代表一切。我的电影对话是很少,我的第四部电影开始就明显减少对话。”~([1])这样的创作特点值得我们在对白可称“泛滥”的当下进行一次系统的研究和梳理。
In the mid-to-late 1990s, South Korea’s movie industry enjoyed unprecedented growth due to the relaxation of the censorship system in Korea. A number of outstanding directors of various styles emerged. Kim Kidd in his unique style to create belongs to his personal space and aesthetic ideas. He respects his inner creation and shoots his own style. Among them, his film style has a significant feature, that is, more and more dilute language in the film’s function. Kim Ki-I himself said: “Silence can also give people a profound feeling, and I feel that language does not mean anything. My movie dialogue is very few and my fourth movie starts to significantly reduce the conversation.” “ [1]) This creative feature deserves our systematic study and review in the present moment when the dialogue can be called ”flooding".