金基德電影＜漂流慾室＞中的後現代敘事與非烏托邦社會

The Analysis Of Postmodern Narrative And Dystopian Society In Kim ,Ki-Duk's Film, ＂Isle＂

邱察(Cha Chiu)

《高應科大人文社會科學學報》 11卷1期 (2016/07) Pp. 63-91

摘要

金基德電影中的角色皆為被主流社會所屏除在外的邊緣人物，且缺乏對過去其人生上的背景介紹。劇情中常將肉體之痛與暴力敘事成情感之痛的隱喻象徵也展現於其大部分的電影。然而這創造出的語意常常超越現代相關範例中的法則化知識。金基德電影中的敘事時間是跳躍過事件的開始與發展，進而連結不同當下時刻的維持一種充滿動能的現在式論述，不見與過去的完整連結與對未來的前設鋪陳。金基德電影中的敘事地點空間的轉換也是缺乏提供完整縫合因果發展下的地圖全貌，而是拆解不同敘事地點應該築起在連結各空間點的橋樑，進而直接做跳躍式的連結。金基德電影中的事物不具有在符號學上的一般觀念上的意旨，因此其在語言表意系統中所傳達的不是複製具邏輯與理性的同質語意，而是富創造性的謬誤詮釋。金基德電影中所描述的男性主觀意識下的血腥，剝奪，挫傷，與傷殘身體部位的殘酷社會生活影像已宣告中產階級智性生活的式微，且使金基德的電影吸引住了國際的目光。以上所論述為表達本論文之所以全然藉由後現代主義理論分析金基德電影＜漂流慾室＞的原因，及所希冀做出對電影文本分析之獨特貢獻。

關鍵字

現時當下展現 ； 自我反身指涉性 ； 讀者文本 ； 作者文本

並列摘要

The characters in Kim's films without any introduction in profiles are socially marginal and outcasts excluded from main-stream society. The use of physical pain and violence is a metaphor for emotional pain expression through the majority of Kim's films and the significations created from cinematic images always transgress the institutional knowledge in modern paradigm. For Kim, time depicted in the cinematic temporality is to maintain a present discourse replete with dynamic, which connects different present moments leaping the commencement and development of events. The transition between narrative spatiality in Kim's films is in a dearth of entirely sawing a panorama of map under a complete development of cause and effect. Therefore, it demolishes a bridge connecting each space in different narrative locations as well as directly creates a leaping linkage. This has become detached from its related and logical linkage prescribed in the classical narrative structure, but randomly, coincidentally and unforeseeably merged together, imbedded with the linguistic system of scission revealing no beginning and end. There is no conceptual meaning of semiotics regarding to things in Kim's films. These linguistic elements constituting each other in a syntagmatic system is not to duplicate a logically and rationally homogeneous signification but to create an inventively fallacious meaning. The images of social life depicted under the male subjectivity with the expression of blood, scalping, bruises, and mutilated body parts have announced a waning of the bourgeois life and they also make Kim's films catch the international gaze. All above discourses demonstrate why I employ postmodern theory to analyze Kim,KI-Duk's film,＂ Isle＂ and hopefully it can make a prominent contribution to an analysis of film text.

並列關鍵字

the presence of the present ； self-reflexivity ； readerly ； writerly