Film Semiotics Horizon,Kim Ki-Duk Film Studies

In recent years,Korean movie industry shows a sudden and rapid rise in international film field,with many great figures emerging,too.By virtue of his non-mainstream style,Kinkead attracts widely attentions from the international film industry,thus is considered to be a representative of contemporary Korean movie industry.Generally speaking,Kinkead's films have transferred from initially the crucial themes to the mild ones and have gradually been accepted and loved by a growing number of audiences.By reflecting people's potential instincts which are released by the marginalized people in society after they have suffered from persecution,humiliation,betrayal and some other bullies,Kinkead's films often relate to themes on common weaknesses of human beings and their endless desires as well as how terrible the human nature is.Numbers of research and articles narrate Kinkead's film from the perspective of fundamental research and discuss his films in terms of narrative structure,composition,frames,theme,and so on.What those research and articles focus on is how to study the tragedy of characters and individuals who are living on edge and they demonstrate Kinkead's unique style by analyzing its theme,narrative clues and narration chain.In this,the thesis digs to the necessity ofinterpreting Kinkead's movies from a brand-new research perspective—— theories of Semiotics of Cinema.The thesis tries to identify the aesthetic characteristics of Kinkead's films from the perspectives of Symbolism of first Semiotics and attempts to dig down the deep meaning of semiotics and the metaphorical expression in Kinkead's film.“Mirror Theory” of second semiotics will be introduced in the thesis to explore the corresponding relationships between Kinkead's film and audiences.By discussing Kinkead's several films on the basis of the theories of Jacques Lacan's Ontology theory,this thesis draw a conclusion that Kinkead's films have a common film clues:pursuit--approach—result.Analyzing the features of Kinkead's film with the aid of semiotics theory of films will help us understand the creation rules of “film noir”.The thesis resorts to first semiotics to explain Kinkead's unique style in his film,and the director exactly uses the implied meaning of person's fate development and animals stories the color to depict his inner world.Thus,although the film mostly ends in tragedy,the themes of Kinkead's film are clear and stable.Those image symbols are used to show the great tragic life and create an imaginary world.Considerate ideas and delicate designs can be found in his films,which take advantage of symbolic representation to conceive and reflect the reality.Besides that,in Kinkead's film,some image symbols is repeated many times,which impress the audiences the most.Thus,audiences imperceptibly recognize the unique style of Kinkead's film,and accept them naturally.From the visual threshold of the second semiotics,the Ki-duk Kim's films combined perfectly with Lacan's “Mirror Theory”.KimKi-duk made the imaging characters try to fill their self-deficiency,or kill themselves directly,even rarely gave them languages.However,what this mode presented is human's cunning scheme,they started up all the signifier intermediary to replicate and differentiate the wishes of the subjects and also endued the subjects with cultural properties far out of their needs.Underneath these orectic languages which bear the birth but cannot exist,the biological needs developed to objects of lust,authority and exploitation.For humans,the real objects have become an impossibility from ontology.The real state which Ki-duk Kim sought after,has been transferred to the others but not himself in as early as the mirror stage,and destined to chase in the imaginary objects of the hypocrites lifelong because of this deficiency.Meanwhile,Kim Ki-duk's film language is set up in black film category with its unique iconic characteristics,and it is characterized by nothing more than the iconic construction from the narrative to the sensory angles as well as the film-language constructed by the images' inner properties.In the creation of black film,the construction of Kim Ki-duk's film symbol in the film semiotics is actually the image symbol exerted by the black film,it not only bears the disposition effects of the film itself,but also has become the film language influencing the creation of the films in the same modes,which inspired the black film creators the cerebration of the paths and styles of film development.The thesis is designated to interpret specific symbolic meanings and implications in Ki-duk Kim's films.By studying symbolization in the director's works from the aspects of characters,themes andnarrative ways under the guidance of theories of Semiotics of Cinema,the thesis explores aesthetic presentation in Ki-duk Kim's films and tries to construct the film aesthetics of Ki-duk Kim under the Semiotics of Cinema,which might lead to a complete study to Ki-duk Kim's films.