| 摘要: | 韓國導演金基德在2003到2004間的作品《春去春又來》、《空屋情人》、《援交天使》，三部電影，有一些讓我們無法理解的情節，挑戰了我們成長過程中被潛移默化的儒家道德律，如《春去春又來》這部充滿禪意的電影，小和尚與少女的愉情、老和尚的自焚……，《空屋情人》當中，私闖民宅行善佈施、誘拐他人老婆……，《援交天使》高中女學生援交，女女同性戀……，這些違反倫常的行為，金基德欲透過畫面直指人心，誘導觀眾反思、覺察。而傳統社會，儒家把生活與社會倫理歸納為一些道德條目，建立起「禮教」的社會結構，但也因此被視為型式主義，被批判為禮教殺人，本文以三部影片，對中國文化圈所慣用的儒家道德律提出挑戰，解構形式主義的道德規範，藉討論金基德的用心來省思何謂人性中真正的「善」。
The three movies namely Spring, Summer, Fall, Winter... and Spring, 3-Iron, and Samaria, directed by a Korean director (Ki-duk Kim) during 2003 to 2004, contain some unreasonable plots directly challenging Confucian moral law that has been deep rooted imperceptibly into our minds. For instance, in Spring, Summer, Fall, Winter... and Spring, we can see a young Buddhist monk making love with a young lady and an old monk burning himself. In 3-Iron, the character breaks into other’s houses while practicing good deeds, and steal other’s wives. In Samaria, it talks about high school girl prostitution and lesbian love. Although the above movies portray human behaviors violating the ethics rules in our society, Kim aimed to open up our hearts and lead us to self-examination and self-awareness. Confucianists concluded some moral laws on our daily life and society, and thus built a social structure of manners; meanwhile, such laws are also regarded as externalism, and receive the criticism of manners as killing. Through Kim’s three movies, the purpose of this article was to challenge the moral laws in the Chinese culture, deconstruct moral principles of externalism, and reflect the meaning of the basic goodness of humanity. |
