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本篇paper代写- Korean disaster movie讨论了韩国灾难电影。灾难是人类生存与发展面临的共同挑战，灾难电影是没有国界的，它所呈现的灾难场景和人间真情都是具有普世意义和公共性。韩国灾难电影让更加关注观众生存环境、对未知灾难的防范、对生态状况和生存危机的担忧，更多关于个体的心灵震撼、生命力的体悟和人类众生一体永恒的思考。这种浸染了强烈的忧患意识和集体主义精神文化，让韩国灾难电影的叙事空间上升到一个新的审美高度，韩国灾难电影与韩国的民族精神融为一体，展现出持久、旺盛的生命力。本篇paper代写由51due代写平台整理，供大家参考阅读。

Disaster movie is a kind of movie with horror, panic, tragic plot and disastrous landscape as the main viewing effect. As early as in the era of silent films, disaster themes were scattered in all kinds of films. After the initial period, development period and prosperity period, disaster films gradually developed into a mainstream type of films, attracting a large number of audiences. With the development of science and technology, digital special effects are better used in the film, the theme of disaster films has been expanded, the screen show effect is more rich and realistic, the audience's interest in watching movies has never been higher, making its production a new climax. Led by Hollywood, countries have invested in the production of disaster movies, disaster movies gradually become synonymous with high investment and high box office.

In recent years, South Korean films, with their diverse and rich themes, superb narrative skills and true and touching emotional expression, have risen to prominence, winning awards and attracting attention from audiences all over the world. In May 2016 at the cannes film festival screened in the midnight screening of the busan line as Asia's first real zombie theme of disaster movies, get all the audience stood up and applauded, and on the first day of its release a south Korean film and television a single-day record, has also become South Korea's highest box office record 2016 movie, a remarkable achievement for academics and began to focus on Korean disaster movie. Haeun-tae, a 2009 film about the tsunami disaster, is considered to be the first disaster film in the history of Korean cinema, and the fifth film in the country to make more than 10 million box office hits. Since then, the subject and contents of the disaster film, tells the parasite erosion of the wireworm invasion, the brain tells of the fire accident "skyscraper", under the present climate change the fate of mankind "snow country train", the flu virus from human sentiment changes in temperature the "flu" and so on, have to refresh the box office, to the audience by surprise. In addition to the sensory impact brought by visual effects and the attraction generated by the broad subject matter, there must be deep reasons for the success and approval of Korean disaster films, which are also worth exploring and studying.

In terms of audience acceptance psychology, audiences tend to read stories that are interesting or can trigger audience's curiosity psychology. A good movie must be a movie that can tell a story. Only a good story can attract people, and storytelling is narrative. From the perspective of narrate, film narration can depict images and events through the arrangement and combination of a series of shots, thus obtaining a powerful narrative expression. Therefore, film, as a time-space art, is different from other art forms and becomes unique and more attractive. Study film narrative space, "by analyzing the relationship of film narrative space and narrative function, to interpret the film narrative space in the element and different space level, and thus to form a film narrative unique personality with a particular style, so for the study of narrative space become an essential part of film narrative research. This paper will analyze Korean disaster films from the perspective of narrative space and deconstruct their narrative space from three aspects: story space, picture space and aesthetic space.

According to the big bang theory, after the singularity explosion, the state of the universe was divided by the initial "one", which resulted in different forms of existence and states of motion. "Space" is understood as the difference in position between objects, while "time" is used to measure the change in position. Human beings are in a large space, and the time-space art of film also needs a fixed space setting. "The so-called movie narrative space refers to the activity place or existence space created or selected by the film maker to carry the things in the story or event to be narrated. It ACTS on the audience's vision and hearing through the direct representation of moving images and sounds. The story space is the main part of the movie narrative space, that is, the space where the whole story unfolds, in which the conflicts and the beginning of the story develop into the climax. Hollywood disaster movies are positioned in a global perspective and usually set up a huge story space. The disasters they describe are also global, such as the day after tomorrow, 2012, I am a legend, etc. However, Korean disaster films that pursue the integration of local narration and Oriental ethics tend to set the story space in a relatively small scope. From the objective reason analysis, can reduce the big scene, the high difficulty special effect production, reduces the film shooting cost; From the perspective of narratology, the narrow and narrow story space can accelerate the progress of the plot and intensify the conflicts. Through the confrontation between the little people and the catastrophe, the humanity and theme can be highlighted and deepened.

Haeundai's story of the tsunami disaster in a south Korean seaside town revolves around the changing relationships of several families before and after the disaster and the moving details of how they help each other in times of disaster. In "flu" virus began in a small container, crossing over from southeast Asia and then spread to the whole city, the cities all people infected by the virus are quarantined, firefighters "Jiang Zhijiu" together with the female doctor "Jin Renhai" on the road to find virus antibody, eventually save themselves and saved the isolated population. "Pandora" is because a nuclear power plant accident triggered a nuclear leak, dozens of miles and even half of South Korea will face nuclear pollution, a group of nuclear power plant workers came forward, sacrifice themselves and minimize the risk of this nuclear leakage accident. In the snow country train "and" busan ", is even more aggressive in its narrow space to the story on a moving train, the skyscraper is a story happened in the fire accident on the skyscrapers, "tunnel" tells the story of an ordinary car salesman lee jung-su trapped in collapsed pursues tunnel live under 35 days was finally rescue story. By induction, we found several stories are good at in linear narrative chain to show a strong narrative space, the story full of emotional appeal, fully highlighted the disaster point and the safety of sharp contrast, the face of disaster, both the dirty and ugly, and the glory of the human nature, the spirit of the highlighted don't abandon don't give up, self-sacrifice sense of justice, the beauty of the human psyche.

The picture space of a movie is a dynamic place of moving images in time series, and also an important part of the narrative space. The picture space is the space and activity scope of the narrative subject in a single shot, and also the place where a story happens. The structure of the picture space gives the audience the most direct visual experience, and also tests the director's scene scheduling and the photographer's composition choice. With scientific and technological progress and improvement of living standards, people life gradually become inseparable from the mobile phones, televisions, computers and other kinds of emerging high-tech equipment, these media and film naturally involved in the narrative, such as video calls, broadcast live on television, network, etc., to deepen the conflict, promoting the development of the plot. In disaster films, suffering groups are often isolated from the outside world, and this emerging medium naturally becomes an important means of communication to participate in the narrative and the construction of picture space. All the passengers in "train to busan" are trapped on a train bound for busan. The zombies are slaughtered outside the train. The number of infected people inside the train keeps rising. In Pandora, when people are in the hospital, they also watch the President's live speech on TV and know the crisis of the situation, so they decide to sacrifice themselves to save their loved ones. When the volunteers go deep into the reservoir inside the nuclear power plant, they connect the TV pictures through the live camera equipped on the helmet, and broadcast the rescue scene simultaneously, showing the exciting plot. Both of them make full use of the picture-in-picture mode to expand the picture space. The difference is that the former makes a sharp contrast between the critical situation of the survivors and the TV news reporter's false report that the disaster was mild and the government was actively sending troops to maintain stability, which greatly satirizes the news media's cover-up of the truth and the government's incompetence and inaction. In this narrow space, the lonely and helpless people in the foreground and the dignified media people in the background are increasingly depressed. The emotions of the audience are greatly mobilized, and the sense of identity substitution and on-site experience are strengthened to the greatest extent. However, the TV character in Pandora is a good one. Despite the opposition of the prime minister and the council, the President resolutely takes decisive measures to scrap the nuclear power plant to save the nation as much as possible, and works with the volunteers in the scene to fight against the disaster. At this time, both inside and outside the painting, the narrative subject and the audience have reached a high degree of emotional unity, and a positive energy and patriotic feelings that human beings must win arise spontaneously, and the theme of the film has been sublimated. Different from Hollywood disaster movies with big scenes and big narrative space, south Korean disaster movies pay more attention to the grasp of details. Their grasp of small picture space extends the narrative space, enriches the narrative Angle and narrative language, and is more powerful and refined in emotional expression. This is a unique Oriental narrative.

Bazan's research on film space inspired us deeply. Zhou chuanji thought that films were developed in a deep and closed space, which gave us a further understanding of film space. "The direct perception of film narrative space comes from life, and it is also a sublimation of life, which is an important part of the aesthetic of film art." Film makers use the narrative space of films to imply or express some ideas or consciousness, while audiences reconstruct a new space based on their own knowledge reserves or movie-watching experience, which is called aesthetic space. If compared the picture space in a ship traveling on the sea, so is the whole story space area, both the major parts of the narrative space expression comes out, and really complete narrative space but also see the picture of the hearts of the audience, this part scratching can't be seen from space, it is the most important part of the aesthetic value of film.

Disaster movies provide people with "not only an aesthetic satisfaction, but also a certain social and cultural psychology, showing the philosophical significance of ultimate concern for human destiny on earth." Disaster consciousness is a special kind of disaster consciousness of human being as a social person, and it is because of this kind of disaster consciousness that human being can prepare for the rainy day or make up for the late sheep, survive in the fight against various natural and man-made disasters, and promote the progress and development of human civilization. Disaster films in socialist countries often outline a social picture of solidarity, mutual assistance, harmony and stability for the audience through panoramic and group-image characterization. Hollywood disaster movies pay more attention to typification and commercialization, pay attention to the visual and auditory effects of disaster rendering and the heroic spirit of beating the disaster to save human beings to promote; However, south Korean disaster movies stand alone, and often take the most ordinary class little people in the society as the main character. In order to save their relatives and friends, they come forward, gradually become strong and brave, complete self-redemption and social redemption, and finally escape from the disaster and remove the dilemma. The wireworm invasion of the protagonist is a working staff and the police, "flu" narrative subject is a single mother and firefighters, "Pandora" savior is a group of plant personnel, every ordinary person in front of the disaster maximize their life values, critical moment to seek solutions, against disaster, against the human side of the dark. The exciting scenes infect the audience, and the profound theme inspires the audience. At this time, the story of the film and the audience in front of the screen jointly shape a new aesthetic space.

"Disaster is a common challenge for human survival and development. Disaster movies have no national boundaries, and their scenes and human feelings are universal and public." The inspiration of south Korean disaster movies is not only the attention to the living environment, the prevention of unknown disasters, the worry about the ecological situation and the survival crisis, but also the individual's spiritual shock, the perception of vitality and the eternal thinking of human beings. It is this "hate" culture imbued with a strong sense of anxiety and collectivism that elevates the narrative space of Korean disaster films to a new aesthetic height, and integrates the Korean disaster films with the national spirit to show lasting and vigorous vitality.

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