The Study Of Characterization In The Movie Of Kim Ki-Duk

"The woman is South Korea, the woman’s daughter is Korean film." Professor Li Xiaoren Han Guoqing Hee University used this sentence to summarize the Korean film. Any kind of art form, is not just a movie, is outside of represent people’s thoughts and emotions reflect. People living in this world, everywhere received restricted the social and historical environment. As a nation, history and memory of his deeply rooted in the ancient struggle, sacrifice, tradition and customs and beliefs. These hidden in intangible cultural fragments, intentionally or unintentionally in the process of artists in the show in the works. South Korean film as a concise history of South Korea is in reflection on the history of Korea, reflecting the Korean culture now, prospect the future of Korea. It is a kind of art form, is a mirror.Nationality in film studies often do not pay attention to. Full screen in Hollywood today, people take it for granted that the Hollywood movie is an international identity. In fact, every Hollywood movie in the hidden shadow. In the economic, political and cultural westernization, was also set on shenglayingzhuai western chains. When people gradually to Europe and the United States film as a world standard, national film more and less attention. Even some movies can’t wait to let their own film deliberately "internationalization". The film market moment as the embodiment of ideological struggle of the place.Director Kim Ki-duk is a young Korean contemporary film maverick, very personal characteristics of the director. Without any system film theory study of he, but by virtue of his talent and hard work maintained average one year of production and in the international film won the Berlin, Venice several Film Festival Award for best director, won a wide reputation in Europe. The film script comes from self, used to go to directed author type film creation road. His works play performance, violence, death, tragedy’s passion and full of tension to rub together, often with a distinctive feature of cruel, margin, violence, reflection and restraint. Can say, Kim ki DUK to the theme of the film of violence, brutality and image style of the absolute individuation in South Korea and world cinema occupy a place. He in South Korea does not belong to commercial director, but in South Korea movie business of the prosperity of the background, the known as the creation of alternative or directed questions, often give a person with soul tremor and thrillers.At present, in our country, the research of Kim ki DUK film is not deep enough, the more common is on the Internet and magazine interviews, the letters or essays sexy to, even in the academic circles, Kim ki DUK film system study and discussion is also does not see more, the paper respectively on the gold Kidd movie theme features, imaging features, aesthetic style, artistic director were more in-depth discussion, but so far, and no a weighty academic papers on the characters in the film shape make categories, with in-depth research. In fact, the characters have status play a decisive role in Kim Ki-duk’s film. The character is not only embodiment of lust in front of the camera, but often is the story of the key, the core contradiction.Characters is a powerful props the director Kim ki DUK, explore the human nature, life, fate, he explores the hardships and think about the efforts in the film has been on full display, the faces a variety of characters, or simple or brave or strange or suspicion, or fortitude or endure, or refuse or fragile, through these characters of behavior, psychology, we more thorough understanding of director Kim ki DUK film. And this paper through in-depth analysis of the angle of writing style, character set, female images and enable us to more clearly understanding director Kim ki DUK shaping methods and techniques of character. Help to understand we have a good artistic connotation of Kim ki DUK film and culture structure and ideology of deep thinking. In addition to the introduction and conclusion, the body part consists of three chapters. Why is roughly in accordance with, what and how the basic ideas. The first chapter, by the theory of personality that inspired Carl Jung. This movie could not override national culture on alone. In the discussion of the art of film at the same time, it must be combined with the traditional architecture, historical and cultural forms. Film as a culture of highly crystalline, according to Jung’s analytical psychology theory, these generations remain unchanged activity way and experience left in the human brain in traces. This is a process of development of human in the sediment system "". We found the root and individual emotional destination rooted in the character of Kim Ki-duk in the movie deep inside. The second chapter by Hegel’s classical heroism and eco feminist inspired, from the perspective of movie aesthetics and literature on the character shaping range to be defined, and focuses on the categories and transformation of the characters. In the final chapter analyzes the basic morphological characters of two yuan kim. The third chapter combined with characterization in the Robert Kaur the film form and culture views and movie and television literature point of view, with the characteristics of different creation periods of Kim ki DUK as a logical clue, the case for the analysis. Domestic and foreign theories and methods are applied in the article comprehensively, both to the actual case analysis, dissected the several specific cases, and the theoretical questions, tried to combine rational thinking and artistic thinking, strives to breakthrough and innovation to some extent in the four dimensions of theory, practice, history and reality. Because this study requires profound theoretical reservation, a broad international perspective and keen.