A Comparative Study Of Tsai And Kinkead Marginal Figure Films

Tsai and Kinkead often put them together, the reason is probably presented with both film-making art out of similar purport relevant, such as movies always been concerned about the living conditions of marginal figures, to express feelings of compassion and observation of life introspection, are all unique expressions of film art are relentless pursuit, refused to compromise business rules and so on. Therefore, as the author of a unique type of director Tsai Ming-liang and Kim Ki-duk film in the industry enjoys a high reputation both become their respective regions of excellence on behalf of film art.Of course, the unique charm of the film lies in the art of personal artistic expression, so even though both film art have many similarities, but there are similar but different, in the joint pursuit of individual expression, both movies showing a clear different place, showing their own distinctive artistic expression and purport.Although the expression of themes and Kinkead Tsai pursuit of complex human anatomy and dig, lonely, free, despair, barren state of mind and living conditions are the subject of two movies often show, but in a specific way presentation and digging, the two have different concerns and inspect. Perform equally lonely life circumstances and inner state, Kim Ki-duk silence wrapped lonely, isolated active choice circumvent the world, will be lonely as an essential way and form of life; and Tsai Ming Liang places cry presented in a way alone, assertive and even madness By appearances are no words lonely spirit. In addition, two directors are concerned about the desire to vent marginal figures, and other spiritual exploration and Construction has a similar, but in particular mining, cutting and tracing the process of selfavedistinctivestyle.The director works in two characters are similar to the range, that people are more concerned about the edge of survival circumstances and mental state, and the difference is that they focus on mining point of view, as well as shaping the way. Kinkead mainly created to conquer the violence as the main form of cognitive style male and female image bound differences in the construction, while Tsai was penetrating to show "patriarchal" in Hong Ta, family deconstruction of feminine and masculine Women’s masculine character differences Construction.The composition of the enclosed space, water, and other image of a woman appeared in the images together more than two film directors, they are also given these symbolic images symbolic meaning, its metaphorical meaning is carried construct meaning movie themes and characters of section, except that both of these images are characterized borrowed idea is different.It is precisely because of the similar themes in mining and introspection way, means of expression have their own unique artistic imprint, Tsai Ming-liang and Kinkead on aesthetic style presents obvious difference, Tsai good concise narrative parallel montage, like recordable realism image style. And Kim Ki-duk is mainly minimalist narrative embedded melodrama case, the narrative is set to escape the control and dual narrative, image style is Oriental feeling romantic performance style.Artistic director of two styles of distinction, both contribute to a deeper understanding of the two authors of the director’s unique artistic pursuit Delight and means of expression, but also to clarify misconceptions there are some theories for determining both the art of film status and value of the field, to promote and popularize Genre diversity, has an important significance.