Author Affiliations: Ronald S. GREEN(University of Wisconsin-Madison), Chanju MUN(Dongguk University)
關鍵詞
Buddhist Movies; Cinematic Symbolism; Seasonal Allegory; Religious Narratives; Visual Design
摘要
This paper examines elements identified as “Buddhist” in the Korean film Spring, Summer, Fall, Winter… and Spring (K. Pom yŏrŭm kaŭl kyŏul kŭrigo pom) written and directed by Kim Ki-duk (b. 1960) and released in 2003. It draws on research on this topic by numerous notable researchers of Korean film. For the sake of our investigation, we have arranged various points made by these scholars into three sections reflecting categories philosophers have long used to analyze drama. These are (1) mise-en-scene: the visual design of the film, (2) diegesis: the fictive narrative space of the film, and (3) mimesis: symbolic or ritual action in the film. This arrangement is based on a study of Spring, Summer, Fall, Winter… and Spring by Pak Chongch’ŏn. This paper reorganizes Pak’s analysis and expands it to include the ideas of other Korean critics along with our own. Specifically, the paper looks at how the director uses mimicry, seasonal allegory, and various elements of visual design to create a multifaceted religious narrative. We analyze his assorted usages of Buddhist iconographical images and temple sounds including chanting of the Heart Sūtra, but argue that Kim additionally builds the storyline with cinematic symbolism and metaphor taken from Yin/Yang philosophy, Five Elements theory, Christianity, Jainism, and Korean folklore. We also offer a theory of Buddhist adoptive society in terms of the island and orphan metaphor found in the film. The paper considers whether Spring, Summer, Fall, Winter… and Spring falls short of the requirements necessary for designating it as a “Buddhist film” as argued by a number of researchers, particularly if it lacks a soteriological solution to the inherent problem of human suffering at the forefront of the movie.
目次
Abstract Mise-en-scène: The Visual Design of the Film 179 Diegesis: The Narrative World of the Film 186 Mimesis: Symbolic or Ritual Action in the Film 191 Conclusions 197 References 202
