悲剧审美与现实映射的双层呈现——韩国电影《寄生虫》的悲剧效果解读  

The Double Presentation of Tragedy Aesthetics and Reality Reflection——Interpretation of the Tragic Effect of Korean Movie Parasite

作　　者：许浩[1] XU-Hao(Grammar School,Dalian University of Finance and Economics,Dalian 116622,China)

机构地区：[1]大连财经学院文法学院,辽宁大连116622

出　　处：《汉江师范学院学报》2023年第1期38-42,共5页Journal of Hanjiang Normal University

基　　金：中国智慧工程研究会“十三五”科研规划特色教育一般课题“电视电影的艺术特性与美学研究”(项目编号:ZKY160156)。

摘　　要：毫无疑问,《寄生虫》是一部兼具审美抽离与现实参与的悲剧,通过对韩国阶级分化的赤裸揭露以及底层人物生活的深层关注,借助情节的“后现代”、视听语言的夸张化、艺术节奏的灵活变幻,既有视听层面的冲击力,也有审美层面的距离感,在底层人物宿命般的生活下呈现出较强的悲剧审美效果。作为观众而言,随着小人物游离于上层与底层生活之间,尊严与生命被现实无情践踏、撕裂、遁行,“大人物”的生命也因骨子里对小人物的鄙夷而毁灭,并由此产生愉悦、悲悯、惊恐杂糅交织的复杂情感,而这种情感带来的撕裂感正是对阶级差距的现实批判、审视、反思。从这个角度讲,无论是悲剧审美还是现实映射,《寄生虫》的艺术处理方式与悲剧效果均为同类型影片的典范。There is no doubt that the "parasites" is a tragedy of both aesthetic pull-way and reality participation, through the naked and deeper focus on the underlying character of Korean class life, with the help of the plot of exaggerated "postmodern", the exaggeration of audio-visual language, the flexible change of art rhythm, the impact on both seeing and hearing, and the distance aesthetic, presenting a strong tragedy aesthetic effect under the fatalistic life of the bottom characters. As to the audience, the little people are drifting between the upper and the lower life, whose dignity and life are ruthlessly trampled, torn and moved away by the reality. The life of the "big man" is also destroyed because of his deep contempt for the little people, so the complex emotion mixed with joy, pity and horror is generated. The tearing feeling brought by this emotion is the realistic criticism, examination and reflection of the class gap. From this point of view, the artistic treatment and tragic effect of "Parasite" are the models of the similar films.

关 键 词：《寄生虫》 悲剧审美 现实映射 戏剧张力 

分 类 号：B83[哲学宗教—美学] J905[艺术—电影电视艺术]