金基德電影《援交天使》中的後現代敘事分析

The Analysis Of Postmodern Narrative In Kim, Ki-Duk’s Film, “Samaritan Girl”

金基德[1]（김기덕，1960-）電影中的人物皆為被主流社會所屏除在外的邊緣人物，他們似乎被描寫成不重複的個人歷史，所謂不重複的個人歷史是指無法在任何現代範例中所找尋到的角色，但進而成為一個參與及創造不同的這裡與此時的自我實踐者。因此對金基德來說，描寫於電影敘事中的故事人物、線路、與時間皆屬於創新而無法複製的角色、微敘事、現在式語態論述，反而著重於創造非邏輯與合理性的暫時性真實。

 

金基德電影中的敘事時延性，往往進展於一個斷裂動作連結另一個斷裂動作的持續動能中，並無顯示事件由起源發展至結果的線性連結。敘事地點的空間轉換也是散漫的、隨機的、偶發的、不可預知的匯流，也就是一種在斷切式語言系統下，無法由完整因果所串連成的敘事地圖全貌。《援交天使》這部影片中的空間敘事符號的再現性，在某些部分也由地景藝術的創造性真實所取代。

 

更進一步的來說，其影片中非現代敘事結構，非現代地景再現，非複製現代社會文化範例，非道德，非人道主義和非烏托邦情境下描述的社會生活，使金基德的電影吸引住了國際目光。

 

以上所論述為表達本論文之所以大量藉由大量的後現代敘事理論分析金基德電影《援交天使》的原因，筆者希冀能藉此做出對電影文本分析之獨特貢獻。

 

The characters in Kim’s films are the social marginal and outcasts excluded from a main- stream society. They seem not to repeat their past and can not be the role discovered from modern paradigm either, coming to become a self-praxis practitioner participating and creating different here and now. Therefore, the characters, plot lines, and temporality are depicted in the cinematic narratives for Kim all of which belong to an inventive instead of a duplicated role, a little narrative, and a present discourse pinpointing at creating provisional truth.

 

For Kim, time depicted in the cinematic temporality is a prolongation progressing in a cut-off action linking a cut-off action with a constant dynamics without revealing the linear nexus in stringing a series of events from their commencements to ends. There is no connection between narrative places in Kim’s films which merely randomly, coincidentally and unforeseeably merge each other together imbedded with the linguistic system of scission without presenting the panorama of an entire narrative map linked through a chain of cause and effect. The spatial representation in the some parts of film has also been replaced by the creative truth in the land art.

 

Moreover, his non-modern narrative structure, non-spatial representation of modernity, non-duplicated modern paradigm, non-ethical and dehumanized and dystopian text in describing social life also make Kim’s films catch the international gaze.

 

All above discourses express why I employ postmodern theory to analyze Kim, KI-Duk’s film,” Samaritan Girl” and hopefully it can make the prominent contribution to a deep analysis of film text.