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電影類Paper代寫范文-金基德電影的暴力美學

來源:網絡整理 發布日期:2019-08-28 07:36 閱讀: 作者:HotEssay 字數:6836字
文章導讀:下面為大家整理一篇優秀的 Paper代寫 范文- The violence aesthetics of kinkidds films,供大家參考學習,這篇論文討論了金基德電影的暴力美學。金基德的影片極具個人風格化,他在不斷探尋人性欲望和惡念時又弘揚人性本善,用暴力美學表現社會的陰暗面和對戰爭的控訴,他始終保持著對社會邊緣人物的關懷和強烈的民族情感,外加反常規的影像美學和敘事美學,令他的電影獨樹一幟。...

  下面為大家整理一篇優秀的Paper代寫范文- The violence aesthetics of kinkidd's films,供大家參考學習,這篇論文討論了金基德電影的暴力美學。金基德的影片極具個人風格化,他在不斷探尋人性欲望和惡念時又弘揚人性本善,用暴力美學表現社會的陰暗面和對戰爭的控訴,他始終保持著對社會邊緣人物的關懷和強烈的民族情感,外加反常規的影像美學和敘事美學,令他的電影獨樹一幟。金基德突出影片中性和暴力的表現形式,在其背后,是他表達出的美學內涵。

  以下為Paper代寫范文全文,由HotEssay浩天論文網整理發布,供大家參考閱讀學習之用,如有Paper代寫需要,請聯系網站客服。

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  Kim jide is known as the "ghost director" and "problem director" in the history of Korean film. Kinkidd highlights the expression forms of sex and violence in the film, behind which is the aesthetic connotation he expresses. Among them, the dissatisfaction with social hierarchy, the indictment of war and the disclosure of the dark side of society are all shown in extreme violence forms.

  金基德在韓國電影史上被譽為“鬼導演”和“問題導演”。金基德強調了電影中性和暴力的表現形式,這背后是他所表達的美學內涵。其中,對社會等級制度的不滿、對戰爭的控訴、對社會黑暗面的揭露,都表現為極端暴力形式。

  Violence is one of the main forms of kinkidd's films. When presenting violent images, kinkidd usually USES close-ups to present bloody violent images without modification and intuitively present them to the audience. Images of direct, unimaginative violence are also everywhere. Kim's violence often takes the form of self-harm and abuse.

  暴力是金基德電影的主要形式之一。在呈現暴力畫面時,金基德通常使用特寫鏡頭來呈現血腥的暴力畫面,而無需修改,并直觀地呈現給觀眾。直接的、無法想象的暴力形象也無處不在。金正日的暴力行為通常表現為自殘和虐待。

  In "spring, summer, autumn, winter and spring", after the mid-year monk committed the crime of killing his wife, he tried to commit suicide by pressing the seven orifices with paper. Through the self-mutilation of monks, jin jide expresses the self-redemption of human beings after making mistakes, and extricates himself through death, so that the audience can feel the pain and despair of the characters.

  在《春、夏、秋、冬、春》中,年中和尚犯了殺妻罪,他試圖用紙壓七孔自殺。金吉德通過僧侶的自殘,表達了人犯錯誤后的自我救贖,并通過死亡自救,讓觀眾感受到人物的痛苦和絕望。

  His form of abuse appears more often in kinkidd's films than in self-harm. Most of the characters in kinkidd's films are marginalized people, and the people at the bottom of the society are their main objects of expression. Such groups need more respect and trust in life. When the character of marginal characters in kinkidd's films becomes distorted, oppressed and alienated, they choose to use violence to solve problems, to contend with the contrary social environment, and to vent their inner desires. In "addressee unknown", zhang wu, a Korean and American mixed-race boy living after the war, was ostracized by the society. Every day, he was mocked by the villagers, the color of his black blood, the poverty of his home and the beating and kicking of dogs' eyes. When zhang wu decides to fight back, he finalizes maltreatment object to be his mother, get humiliate every time, zhang wu always comes home to abreact anger toward the mother, cut the breast of the mother even. In this film, Kim jide sets the target of his abuse as his relatives, whose affection is insignificant in the face of violence, so as to appeal to the protection of the people at the bottom of the society.

  他的虐待形式在金基德的電影中比在自殘中更常見。金基德電影中的人物大多是邊緣化的人,社會底層的人是他們的主要表達對象。這類群體在生活中需要更多的尊重和信任。當金基德電影中的邊緣人物角色被扭曲、壓迫和疏遠時,他們選擇用暴力來解決問題,與相反的社會環境作斗爭,并發泄內心的欲望。在《收件人不詳》一書中,戰后朝鮮裔和美國裔混血男童張武被社會排斥。每天,他都會受到村民們的嘲笑,他的黑色血液的顏色,他家的貧窮,狗的眼睛的打鬧。當張武決定反擊時,他最終確定虐待對象為自己的母親,每次都受到羞辱,張武總是回家向母親發泄憤怒,甚至割斷母親的胸膛。在這部影片中,金繼德將自己的虐待對象定為親人,面對暴力,親人的感情是微不足道的,以呼吁社會底層人民的保護。

  What kinjide expresses through violence is not a simple bloody picture, but to expose the social injustice hidden behind the violence. Through a series of ugly scenes to blame the rigid hierarchy of South Korea, south Korean society oppressed by the United States, and the dark side of the exposure.

  Growing up poor, he dropped out of school at the age of nine to work in a factory and then served in the army. Jin jide struggles at the bottom of society since childhood, soldiers, thieves, apprentices, prostitutes and other people at the bottom are also full of the youth life of jin jide. These people at the bottom of the class make up the characters in kinkidd's films. He often USES two kinds of characters of different social classes to narrate in his films. Social hierarchy is different, and the consequences are also expressed in the form of violence, with extreme violent images to express Kim jide's dissatisfaction and indignation towards the social hierarchy.

  In the film "the empty room," Kim kidd portrays the hero as a thief and the heroine as the wife of a man who suffers domestic violence. Two groups that should not be related to each other but the sparks of love, Kim Jed through this relationship to express the need for care between vulnerable groups, the two social bottom figures set up in the opposite of high-status groups.

  As one of the "386" generation figures in South Korea, Kim went through the most turbulent years in modern South Korea. He was extremely eager for social equality and democratic politics and deeply dissatisfied with the south Korean government under the control of American power.

  In "the recipient is unknown", Mr Kim's indictment of the war is plain. Young girl silver jade in childhood by the U.S. military wooden box made of this plate gun destroyed an eye, the Korean war, to the bottom of the south Korean people brought pain. Through the childhood experience of silver jade, jin jide reflects the tragic state brought by war to the characters, and through the image setting of the film characters, he criticizes the harm of war at a shallow level. The reason is that Kim jide was deeply affected by the Korean war, and his father became irritable due to the war. As a result, Kim jide had a miserable childhood and was often beaten and scolded by his father. He was released through his own experience in the film, and similar childhood experiences appeared in the film.

  As one of the figures of generation 386, kinkidt, like most 386 people, is a left-leaning advocate of social justice, full of ambition and hatred of social injustices. Kim jide shows his personal characteristics in his personal films. His films mainly focus on the attack and satire on the dark side of Korean society, and mostly reflect justice and human kindness through the people at the bottom of society. For example, "addressee unknown" is dissatisfied with American power, "Samaritan girl" is against the phenomenon of social support, and "bad boy" is against the hierarchy.

  Throughout kinkidd's films, one can feel that he is an artist with ambition, courage to face reality and good at fighting evil. He faced up to social problems and challenged authority through direct and violent images. In the era when commercial films occupy the mainstream, jin jide's works with small cost have great influence. With the continuous growth of his qualifications, the style of his works is also turning to euphemism, which directly shows the tragicomedy of the world through films in line with the popular aesthetic concept, and he is active in today's film industry with his unique personality.


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