Korean cinema in the world: KIM KI-DUK

 

 

KIM KI-DUK

 

4 periods

 

Period 1

Ultra-realism (painting) period and experimentations (low cost system – “Dogma” influence)

 -> 초현실주의(페인팅) 기간 및 실험(저비용 시스템 - "도그마" 영향

• Crododile – 1996
• Birdcage Inn
• Real Fiction -2000

 

Period 2 

The Korean film director rejected in Korea but full of awards in international film festivals

->한국 영화감독은 한국에서 거절했지만 국제영화제에서 상으로 가득했다.

• The Isle – 2000 – the internationalization -and the taste of new age buddhism
• Address Unknown 2001
• Bad Guy - 2001
• 3-Iron - 2004
• Spring summer fall winter and spring again
• The temptation of the mainstream blockbuster film : The Coast Guard- 2002

 

Period 3

the soft period : The local (Asian) seduction period -strike back against feminists attacks

->소프트 기간 : 로컬(아시아) 유혹 기간 - 페미니스트s 공격에 대해 역습

• The Bow - 2005
• Time - 2006
• Breathe - 2007

 

The crisis, break-down = Arirang (2011)

 

Period 4

KKD the producer-writer and the freedom of production + KKD the politic 

->프로듀서-작가 김기덕과 제작의 자유 +  정치

• Secret reunion – 2010 - writer
• Poongsan (2011) – writer-producer
• Red Family 2013
• The Fork Lane
• political director: One on one 2014, Stop 2015, The Net 2016

 

New success in international: 2012 Pieta, 2013 Moebius

2012 Pieta

 

 

The scandal and “Human, space, Time and Human” 2018 unreleased in Korea.

 

Kim, Ki-Duk, who directs 12 films from 1996, has been hot issued in Korea film industry and critics. Among those issues, The most critical one was sadomasochism in his works. However, his style on the works was not studied in detail, compared to the content. This theme's mayor is the stylistic analysis of his works. Here, I divide his works to three period, the first one is the period which follows the classic Hollywood style, The second one is which the transitional period which change to a poetic language and the last one is the period of a poetic language.
The works in first period have common-things, regarding to the creation of cinematic space, the use of props which bring in oneself's ruin and peeping as narrative tool, director's romanticism.
I can find Kim, Ki-duk's careful attitude to a world in 〈Spring, Summer, Fall, Winter and Spring〉. He doesn't conflict with it anymore. In stylistic term, the cuts become larger and longer, the beauty of character's movements appears and the montage between image and sound just starts in the work. 〈Samaria〉's last sequence which characterized the cars with a parenthood is the beginning of a poetic language.
The period of a poetic language is 〈Empty house〉 and 〈The Bow〉. In 〈Empty house〉, main character deletes by himself to get one's love and it represents director's mature attitude compared to previous works. The director show main character' attempt which try to disappear and finally make him disappear, but viewers believe that he is still in frame. It is very remarkable cinematic method which nobody try before. The main character sacrificed by himself in 〈The Bow〉 and it means that his behavior for pure love reaches to religious realm. This work is full of metaphor and the metaphor attains a higher level. Kim, Ki-Duk's work becomes mythological and poetic language at last.