This research opens up a critical discussion regarding the representation of violence through spiritualism and realism in Kim Ki-duk’s movies. It will project the similarities as well as the dissimilarities between Kim Ki-duk and Martin Scorsese based on spirituality in correspondence to the use of realism in a cinematic style. This sheds a light on the significances of portraying their cultural and political ideologies. Kim Ki-duk’s effort is to portray spiritualism and realism; Kim Ki-duk does this by depicting Christianity along with Confucianism, Buddhism, and the practice of silence, in addition to his adaptation of minimalistic style to portray violence.
As a result, this research will conclude that Kim Ki- duk is a unique consequential illustrator of South Korea by translating realism in a symbolic manner, which will prove him an auteur.
Table of Contents
I. Introduction
II. Korean Cinema and Kim Ki-duk
1. Introduction to Korean Cinema
2. Auteurism
3. Kim Ki-duk
III. Spiritualism and Violence in Martin Scorsese’s and Kim Ki-duk’s movies
1. Spiritualism
2. Violence
3. Spiritualism and Violence in Martin Scorsese’s and Kim Ki-duk’s movies
a. The use of Redemptive Violence
b. The concept of Confucianism, Buddhism and the power of silence by Kim Ki-duk
IV. Realism and Violence in Martin Scorsese’s and Kim Ki-duk’s movies
1. Realism
2. Italian Neo-realism
3. Modernism
4. Realism and Violence in Martin Scorsese’s and Kim Ki-duk’s movies
a. The stylistic use of Realism in Martin Scorsese’s movies
b. The stylistic use of Realism in Kim Ki-duk’s movies
c. The cinematic style of Violence by Martin Scorsese and Kim Ki duk
V. Conclusion
VI. Filmography
VII. Bibliography
Research Objectives and Key Topics
This thesis examines the representation of violence in the films of Kim Ki-duk through the lenses of spiritualism and realism, conducting a comparative analysis with the work of Martin Scorsese. It explores how these directors employ cinematic techniques to translate complex themes of redemption, cultural ideology, and morality within their respective Eastern and Western contexts.
- The relationship between redemptive violence and spiritualism in cinema.
- The influence of cultural belief systems, including Christianity, Confucianism, and Buddhism, on narrative structures.
- The stylistic application of realism and modernism in depicting social and existential alienation.
- The use of silence as a symbolic tool for transcendence and communication.
- Defining Kim Ki-duk's status as an auteur through his unique cinematic language.
Excerpt from the Book
3.a. The Use of Redemptive Violence
Martin Scorsese came from a working-class family, where his father and his mother were not well-educated. Therefore, reading was no option in the family; that is why everything to him was more enjoyable in moving images. He spent his time in movie theatres and church. From an early age, he displayed a profound faith and an obsession with sin, repentance and ritual (Sterritt, 2009, p.73:77). In order to become a Catholic priest, he would initially join a catholic school at fourteen years of age however he decided to leave one year later. Later on, his filming attempts preserved his very distinctive style of "unconventional Christianity". Since the beginning of his journey in film industry (1967), Scorsese felt that it is essential that all the crew, especially himself as a director, and the cinematographer, focus on the visual elements. He thought the visual element to be the most crucial. It is fascinating and provoking, people would always remember it. However, if it was weak, it will be forgotten in few minutes. In his work, he focuses on elements like close-ups, lighting and framing that have emotional impact on the spectator. As he argues in an interview: “I saw a great deal of violence, I saw a great deal of emotional and psychological violence, religious violence. It is a thing like that leaves an impression on you, and it doesn’t leave you” (Martin, Creating silence (interview), 2016).
Perhaps Machismo is the most dominant theme in Scorsese’s work. The journey of the protagonists in his movies like Raging Bull and Taxi Driver, is a long journey based on suffering, blood, and violence in order to achieve redemption. The search for redemption focuses on the character’s journey, experiencing a violent process to purge himself. It can take materialistic forms like blood. Therefore, violence represented in Scorsese’s films focuses more on the individual than on the social point of view. The character might receive salvation, and in some other cases, he might gain it and then lose it. Such movies are a perfect way to explore the contentious subject of redemptive violence. Scorsese said: “Violence and physical pain is the only means by which redemption from a state of oppression,
Summary of Chapters
I. Introduction: Presents the research focus on the intersection of violence, spiritualism, and realism in the works of Kim Ki-duk, setting the stage for a comparative study with Martin Scorsese.
II. Korean Cinema and Kim Ki-duk: Provides a historical overview of South Korean cinema and establishes the theoretical framework of Auteurism as it applies to Kim Ki-duk's career.
III. Spiritualism and Violence in Martin Scorsese’s and Kim Ki-duk’s movies: Investigates the concept of redemptive violence, analyzing how both directors use suffering and religious symbolism to explore character salvation.
IV. Realism and Violence in Martin Scorsese’s and Kim Ki-duk’s movies: Explores the stylistic use of realism, modernism, and minimalism, highlighting how these movements shaped the directors' distinct cinematic depictions of reality.
V. Conclusion: Synthesizes the findings of the comparative analysis, affirming Kim Ki-duk's position as a unique auteur who redefines the depiction of reality and spirituality through his films.
VI. Filmography: Lists the primary films discussed in the research.
VII. Bibliography: Contains the academic sources and texts referenced throughout the thesis.
Keywords
South Korean cinema, Auteurism, Kim Ki-duk, Martin Scorsese, Spiritualism, Realism, Violence, Redemptive Violence, Christianity, Confucianism, Buddhism, Minimalism, Silence, Modernism, Film Theory.
Frequently Asked Questions
What is the primary subject of this thesis?
The thesis explores the representation of violence in the films of Kim Ki-duk, comparing his work to that of Martin Scorsese through the lenses of spiritualism and realism.
What are the central themes of the research?
The work centers on redemptive violence, the role of silence in narrative, the impact of cultural ideologies like Christianity, Confucianism, and Buddhism, and the application of modernist and minimalist techniques.
What is the core research goal?
The objective is to prove that Kim Ki-duk is a unique auteur by analyzing his distinct cinematic language and his ability to transcend traditional portrayals of reality.
Which scientific methods are employed?
The paper utilizes a comparative film analysis method, bridging Western and Eastern perspectives through theoretical frameworks of Auteurism, realism, and transcendental style.
What does the main body of the work cover?
It covers historical contexts of Korean cinema, the synthesis of spiritual and realistic themes in both directors' filmographies, and an analysis of specific stylistic influences like Italian Neo-realism.
How are the keywords characterized?
The keywords reflect the intersection of cultural studies, film history, and formal analysis, highlighting key directors and thematic concepts utilized in the research.
How does the author define the "power of silence" in Kim Ki-duk's work?
The author argues that silence acts as an intense, spiritual element that allows characters to transcend social norms and violence, creating a connection that exists beyond verbal communication.
What role does the "thigh slicing" scene in the film 'Pieta' play in the author's argument?
The author uses this scene to contest certain interpretations of "filial piety," arguing that it is a violent act of desperation rather than a traditional sacrifice, aimed at establishing identity and tension.
How do the protagonists in '3-iron' achieve transcendence?
The protagonists achieve transcendence by becoming invisible or "ghosts," escaping the materialistic and violent rules of society to exist together on their own terms.
What is the author's conclusion regarding Kim Ki-duk's legacy?
The author concludes that Kim Ki-duk is a consequential filmmaker who provides an unfiltered and authentic image of South Korea, establishing his status as an auteur through his original approach to reality.
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- Julien Mtanios (Autor:in), 2020, Spiritualism and Realism. The Representation of Violence in Kim Ki-duk's Movies, München, GRIN Verlag, https://www.grin.com/document/906622
