韩国电影《寄生虫》的新现实主义创作审美

The Neo-Realism Aesthetic Creation of Korean Film Parasite

在2019年第72届戛纳国际电影节上,由韩国导演奉俊昊导演的《寄生虫》获得金棕榈奖,这是韩国电影首次拿下金棕榈奖。同时,在第92届奥斯卡金像奖上,《寄生虫》一举斩获最佳影片、最佳导演、最佳原创剧本、最佳外语片四大奖项,创造历史成为第一部获得最佳影片奖的非英语片,这也是韩国导演第一次捧起最佳影片小金人。在各大国家继续热衷于拍摄屡获佳奖展示其科技发达的英雄主义科幻片不同,韩国电影制作人却能另辟蹊径,细致精确地关注到社会现状及老百姓真实的生活,从韩国近两年大火的《燃烧》到《小偷世家》,在民族电影创作的探索道路上,韩国电影制作人都把目光聚焦在了现实主义电影上,拍摄出如此高质量的兼具商业性与艺术性的“新现实主义”电影,不得不承认这不仅是国家对电影行业的支持,更是由于人们对于社会情感关怀的强烈诉求所形成的内部动力。

At the 72nd Cannes Film Festival in 2019,Parasite by South Korean director Bong Joon-ho won the Palme d’Or,the first time a Korean film has won the prize.Meanwhile,at the 92nd Academy Awards,Parasite won best Picture,Best Director,Best Original Screenplay and best Foreign language film,making history by becoming the first non-English language film to win the Best Picture award and the first time for a Korean director to win the Best Picture Oscar.Unlike the countries that continue to be obsessed with making prize-winning sci-fi films that show their technological prowess,South Korean filmmakers are taking a different approach and pay careful and accurate attention to the social status quo and the real life of ordinary people.From the famous film Combustion to The thief family in the past two years in South Korea,South Korean filmmakers focuse on realism in the exploration of the national film creation road,have produced such a high quality of both commercial and artistic quality of“Neo-Realism”movie.It is admitted that this is not only the country’s support for the film industry,but also due to people for social emotional care of internal motivation which is formed by the strong appeal.