Film Discussion: Kim Ki-Duk

What makes us human? The most likely answer one will give is the actions we chose make us who we are. However, a deeper meaning must be found in order to truly understand the question itself. This writer does believe that our actions make us humans, but the driving force behind them is our personal identities. Your identity is your soul; behind every soul is the deeper meaning. This writer believes it’s different for everyone. This is what Ki-duk Kim tried to explore in his Korean film, Shi gan (aka Time).

One of the many themes in this film is self-identity crisis. This is a cycle that only keeps going and going and never really stopping. The crowds of people at the end should clue the audience in to the fact that anyone could suffer from a self identity crisis. In this film, the self-identity crisis theme is explored through plastic surgery. Seh-hee tries save her relationship by under-going plastic surgery to match what she feels her boyfriend wants to see in a woman. Thus, changing her self-identity. Changing your looks makes you a different person one could say.

The opening images to this film depict a woman under going plastic surgery. The in depth look to the surgery through these images is merely an indication of how brutal plastic surgery can be to ones self. Later, the same woman exits the center into the new world, with her new identity. However, one cannot simply show off their new identity to the world. Your body must heal itself as it becomes used to your new look. The woman carries her old photo as she leaves the plastic surgery center.

She then runs into Seh-hee which causes the woman to drop the photo, shattering the glass and frame. This writer believes this was great symbolism to the fact this woman’s life has become shattered and possibly incomplete. This most likely will not become realized until the end of the film. At the end of the film, the audience should realize the woman who came out of the store, is Seh-hee, with her new identity. One can draw the conclusion that Seh-hee was running into her old self. This would explain why the decision was made for her to drop the photo of herself.

In addition to being a controversial filmmaker, Kim Ki-duk has also actively protested the fact that smaller filmmakers in South Korea do not get the deserved publicity. Many people have said that Kim is only trying to take care of himself, but he really represents the smaller filmmaker. The power of film production is held by a few in Korea (Hunt and Wing-Fai, p. 93). Because Kim Ki-Duk recognized the problem of having a few large distributors, Koreans now recognize the need for diversity in film production (Hunt and Wing Fai, p. 88).

Kim Ki-duk is among several Korean filmmakers who have been recognized in Europe. In 2004, Kim was given an award in Venice for 3-Iron (Hunt and Wing-Fai, p.209). Kim Ki-duk entered the film world on 1996 with the feature Crocodiles. This film along with two others of his Wild Animals (1999) and Real Fiction (2000) show young people who are really indifferent to society. Real Fiction is a test film that uses two cameras. The film is a story of how a young artist seeks revenge on a gang of bad guys that in his mind have not been kind to him. The forces of vengeance are demonstrated in Kim's Address Unknown (2001). This is the story of three teens during the Korean War and is set around a U.S. army base. Prostitution is a favorite theme of Kim Ki- duk and is introduced in Bird Cage (1998) and The Isle (1999). Kim thinks of prostitution as something that is common for ladies and gentlemen. The Isle earned international recognition. In this film, a prostitute who is unable to ear or speak has a somewhat controlled involvement with a fisherman. Unfortunately, unkind images over ride the beautiful setting of the film. (Vick, p. 166).

Kim continues his style in Bad Guy (2001). The forces of prostitution are again demonstrated when a college girl rejects a mute bad guy and must face the world as a prostitute. The Coast Guard (2002) does not spare the gory images that are a favorite of Kim. A young person, new to the military, kills an innocent person and then goes crazy over the incident. The images may not be pretty in this film, but it does demonstrate how psychologically damaging life in the military during wartime can be. (Vick p.167).

Kim changed his style in Spring, Summer, Fall, Winter--and Spring (2002). The setting is a beautiful mountain lake and a floating monastery. This film appears to be a ''Buddhist Fable” centering on an older monk teaching a younger one. The film takes Kim's more unpleasant drive and takes it in a new direction. The film appealed to the internationals and the locals because it appeared to be focused on Buddhism. Kim, raised a Christian," made up the rituals in the film."(Vick, p. 167). Was his intent to undermine the Orientals? (Vick, p. 168)

Kim Ki-duk can work at a rapid and crazy rate. He made two films in 2003. These were 3-Iron where a thief assists a woman to leave her abusive husband. The golf club as the film is named helped aid the escape. A teen- age girl attempts in Samaritan Girl to make up for prostitute friend's death by returning client’s money after sleeping with him herself. She has no idea that her father finds and beats them. (Vick. 168).

Kim often receives very mean criticism in Korea. He once decided not to release his films in Korea, but now has reversed that decision. He does have some defenders of his work in his home country. Do his films present a true hatred of women or are they a representation of something more? (Vick, p.168). Kim Ki-duk's view of humans is seen over and over in his productions. His films could easily be seen as nothing but an attempt to shock, but he attempst to share his thoughts with the viewer. His views are not hidden and they become easily obvious. (Vick, p. 166).

References

Asian Cinema: A Field Guide

East Asian Cinemas: Exploring Transnational Connections on Film