UAL 倫敦藝術大學碩士合作論文／ 題目：3 行走的暴力（碩士畢業論文） / 作者：謝竣騏

Three, The Walk of Violent Aesthetics Ual MA Design for Art Direction.

Jun Qi Xie 18538019 Tutor Name: Antonia Hollowood 2020 PHOTO BY JUN QI FUTURE

THREE. WALK OF VIOLENCE 2020 Jun QI Xie photo work no1.

英國倫敦藝術大學 藝術指導碩士 代表性畢業碩士論文中文概要論述

University Art of London MA Design for Art Direction. 指導教授：Antonia Hollowood 研究生：謝竣騏

Graduate : JUN QI XIE 完成時間：2020 / 2021 題目：『三』暴力的定義 如何建構一個新的思維關於暴力與美學？ 用不同的聲音，理論家或批評家來定義暴力。

Final Major Project Proposal Manifesto: No more war Do more Art Question: Why the artist or direction will use the violence to present the artwork

如何建立一個新的溝通或藝術形式來談論關於暴力美學的研究議題，思考為何人會使用暴力來表訴自己的情感，此暴力的形式，我 將針對比較個人性或情感性的方面來研究，我閱讀與觀看了日本導演北野武許多關於暴力美學的電影，電影中的暴力都是使用時自己 本身或使用於自己深愛的情感方面，此論文不針對太大尺寸的暴力研究。我建構了首要的問題思考為，為何人會使用暴力面對自己深 愛得情人，或為何人用使用暴力來面對自己。在最困難的時刻，時常有人使用對自己的暴力來解決問題，因此，我認為暴力的存在有 時不止單純蘊含著暴力，反而卻包含著大量的情感層次，也就是為何可以建構 暴力美學 這樣的詞彙，美學是包含著許多的情感性， 精神性當然也包含著絕對的現實性。因此我反覆了看了日本導演北野武的電影來支持此研究。電影中，有許多對自我的掙扎，自殺的 思考，對於情感無可奈何的深思，都將暴力這個詞彙達到另一個思考的層面，也是我研究的中心思想。而我為何將題目訂三。 名稱為“三個 3”。 為什麼是三個？ 將站在三個方面來討論或讓人們重新考慮什麼是暴力，或者為什麼人們會使用暴力來表達自己 的情感，這不是針對犯罪或鼓勵人們使用暴力。 這就是為什麼藝術家會使用暴力行為來創造新的對話或審美新形式的原因的研究 看了許多北野武電影 大量的暴力元素 但站在一個觀看者 就是暴力 彷彿必須刻意地加入一些藝術性的思維 才能重新省思 目的：

思考如何建構作品 可以看見暴力但卻不只思考暴力 Francis Bacon 曾在自傳訪談提到 我們人總是活在螢幕中 他們總是要我減少我畫面中的尖叫畫面 因為人總是更喜歡莫內美好的水仙花畫面 使我思考如何將尖叫痛苦 的畫面 畫的美麗？ 美麗暴力 情感暴力 暴力美學 藝術與暴力 行為研究與暴力 反社會與暴力是否回同等的元素 革命性的暴力 政治性的暴力 重新定義並思考 所謂的暴力 ''行為''

暴力一詞也來自於社會給予的定義。 Redefine what is the violent this `` acts '' or ‘’behave’’ The term violence also comes from the definition given by society. 開始從暴力美學的電影、政治性與暴力的關係、革命與暴力，暴力後的回應或回饋。在前言中，我談及許多關於藝術創作的靈魂，為 何以這段文作為此論文的開始點，因為想涉及的暴力行為的部分，不單單研究對他人的暴力，更想研究或思考對自己自身的暴力行 為，如自殺等等的行為，再次強調並非鼓勵暴力與自殺性的行為，而是以一個情感與藝術性的研究角度，暴力行為或對自己的暴力行 為，是否產生對於自己與他人的重要回饋。目前看了許多北野武的電影，有各種暴力行為，開始思考此行為是為了什麼樣的感情回 應？剝奪他人生命的自由，換取自己更多的自由，或說暴力行為是為了滿足他人的期待。期待就包含了情感元素。那自殺的性的思 考，剝奪自我的生命換取何種情感的回饋？讓自己受傷是為了換取他人不同的情緒表現行為嗎？在發條橘子曾談到，也許一些社會性 的行為有時來自社會中的無法回應的情緒。只剩下暴力行為來抒發自己的聲音，會者在社會中許多人並沒有太多選擇，所以只能選擇 道德外的思考行為（暴力）等等… 除了性，暴力也是人們普遍欣賞和崇拜的對象

https://kknews.cc/zh-tw/news/np98gaq.html 暴力在當前的社會，是神秘的存在，普遍身處的世界，大家總是避免的（面對）所謂（暴力）這個行為，造成一個狀態，人為思考暴 力在生存「可能」有存在的必要。如「差異自由的年代」一書提到-暴力，或者說腕力，人類就是因為有這個，才得以生存下來。不 管狩獵也好，採集也好，農耕也好，全部都是這樣的。在更早世界中，人生存必須依賴狩獵，這樣的「暴力行為」當是為了生存目的 而產生的暴力，那是否這個行為的前提，這個「暴力」與當前社會「道德的暴力」為不同的思考方向。差異自由的年代也提及在條件 充分的結構下觀察仇恨與暴力，用力在於看清楚事前的合法性與事後的支持度之關聯性。 在不同社會 觀者 環境 以及人為角度的不同結構下，將會產生「暴力」不同的定義。此論文將重新定義，以不同的研究者、藝術 家、導演的分析，重新定義所謂『暴力』行為的解釋，也對針對「暴力美學」來說明，暴力是否存在美學或這個美學只是被創作者刻 意的合理暴力行為的創造詞彙？

請從理論家那裡找到三個引述，描述了對暴力的不同解釋。 美學的角度去修飾「暴力」這樣的元素

「暴力美學｣此一名詞的誕生，則是根源於極端個人主義的偏見，部分二流的藝術家以其錯誤的認知，認為藝術創作是極端個人主義 的產物，藝術家可以被排除在社會責任與使命感之外，於是打著官冕堂皇所謂「為藝術而藝術」的旗幟，藝術家可以任所欲為，甚至 擁有胡作非為的特權，他們標榜「極端個人主義的創作自由」，殊不知藝術家也是社會的一份子，個人與社會本就是一體，任何個人 或小眾的行為都會對人類社會產生影響，強調「為藝術而藝術」根本就是將心靈局限於小我的「個人監獄」。 Deconstruction of “Aesthetics of Violence” 造形藝術研究所兼任助理教授曾肅良 Su-Liang Tseng 「物理暴力與心理暴力」 暴力是一種傷害性的行為，它可以大別分為「﹙physical violence﹚｣與「﹙mental violence﹚｣，「生理的暴力｣在於肢體或生命的殘 害，「心理的暴力｣則是對於心理層面的傷害，暴力也可以被分為「﹙visible violence﹚」與「﹙invisible violence﹚」 Deconstruction of “Aesthetics of Violence” 造形藝術研究所兼任助理教授曾肅良 Su-Liang Tseng 站在一個研究藝術行為與暴力之間的關係，不同的暴力行為的結構下，會產生觀者不同的解釋行為，物理的暴力後的藝術產物，將產 生兩極化的評論，因為這樣的物理行為很明確的暴力，很明確讓觀者產生「明顯」暴力。而後者所謂「心理的暴力」與「不可見之暴 力」，如果使用這樣的隱喻的暴力行為，觀者不會太明顯的極端去認為「心理暴力的強烈」甚至認為無法接受心理暴力的人，是他們 心靈不夠強壯。因為這是「不可見的暴力」。在北野武導演的電影中，也常出現「物理暴力」與「心理暴力」交叉的藝術手法。在北 野武超思考一書中也提及，除了暴力行為他更想喚起大家對生存的意義，因為必須生存，所有才產生暴力行為（狩獵）。

於差異自由的年代一書提及：不要等到盲目的暴怒宣洩時才觀察仇恨，因為此時會有其他處理辦法：特定形式的仇恨由律師和警察負 責。但對於排除與約束的形式，以及態度、習慣、行為和信念上的卑劣排外伎倆，社會上人皆有責任。暴力是一種累積後的情緒，並 非當下最直接的情感回應。此段文的引用並非合理暴力行為，而是以不同的思考點來說明暴力產生的過程。複雜的暴力行為與單純的 暴力行為，都來自情緒累積的過程。說明，暴力的產生是來自情緒累積的產物。此行為產物，被社會道德規範成，暴力的行為來自暴 力，不包含情感。因此藝術行為才使用「暴力行為」來點綴藝術，北野武電影中的暴力行為的前提，都強調因為太過關愛，所以產生 暴力，因為不知道如何表現情感，所以暴力。並非因為暴力而暴力。但在當前的社會中，暴力即暴力。暴力美學的電影也成為因為電 影中許多暴力，因此畫面會影響觀者間接產生暴力？

Don’t wait to watch the hatred until blindly venting anger, because there are other ways to deal with it: lawyers and police are responsible for certain forms of hatred. However, everyone in society is responsible for the forms of exclusion and restriction, as well as the despicable xenophobic tactics in attitudes, habits, behaviors, and beliefs.

-Create a solid foundation where everyone can stand 藝術行為與藝術意識的影響

在 1993 年一場有關藝術與經濟的演講中，哈克亦引述其針對機制和意識型態的論點，來說明文化對於社會價值的影響力：「最成功 的意識型態效果往往無須言語即默許服從。任何對於意識型態(狹義而言即合法化的論述(legitimating discourses)的分析，若無包含對 於相關的機制運作進行研究，則無異於增強該意識型態的效果。」 Pierre Bourdieu, Outline of a Theory of Practice (Cambridge: Cambridge University Press, 1977), 181; quoted in Hans Haacke, “Caught between Revolver and Checkbook,” paper delivered at colloquium “The Arts and the Economy” in Baruch College, New York, November 19, 1993, in Obra Social: Hans Haacke (Barcelona: Fundació Tàpies, 1995), 207. 所謂的藝術行為或表演，通常想帶給觀者一些不同的情感反思，暴力與藝術行為這樣對話，北野武的電影時常沒有台詞，只有行為、 只有音樂。導演想給觀者的意識可能沒有明確的答案，在電影中使用了大量的行為隱喻，沒有正確答案，也沒有正面的否定暴力。北

野武也曾在完全北野武一書提及：「把所有的信息清楚的表現給觀者，那也太看不起觀者了」但當人看了北野武電影卻成功的灌出許 多來自北野武的意識，也產生藝術行為產生極端的不同的反思，因為沒有解釋，所以所有解釋來自觀者。如暴力，總來自觀者，但真 正誰能對暴力做出最合理不該存在的意義？ 凡是合理的都是現實的，凡是現實的都是合理的。黑格爾 高, 兆明. 黑格爾《法哲學原理》導讀. 北京: 商務印書館. 2014: 黑格爾, 格奧爾格. 法哲學原理. 北京: 商務印書館. 2017. 賀麟《黑格爾著<法哲學原理>一書評述》. ISBN 9787100019101.

1.

Violence, or wrist strength, human beings can survive because of this. Whether it’s hunting, gathering or farming, everything is like this.

- Carolin Emcke 2.

Observing hatred and violence under a structure with sufficient conditions is to see clearly the correlation between the legitimacy beforehand and the degree of support afterwards. Without this correlation, hatred and violence would not be so rampant. By observing the various sources of hatred or violence with clear examples, you can criticize a popular myth: "Hatred is innate and natural." As if "hate" is more pure than "respect"? But hatred is not born naturally, but created. Violence is not born, it needs to be brewed.

3.

As mentioned in Haruki Murakami's 1Q84 book, violence may also become the key word.

4.

Francis Bacon mentioned in an autobiographical interview. We people always live on the screen. They always want me to reduce the screaming pictures in my pictures. Because people always prefer the beautiful daffodil pictures of Monet, making me think about how to draw the pictures of scream- ing pain and beauty? (Farson,1994)

Freud： human literary creation (including movies) originated from the need to vent the original desires of the self, and that human primitive desires include two basic instincts: sexual instinct (also known as life instinct or life instinct) and death instinct

弗洛伊德認為，人類的文藝創作（包括電影）起源於本我原始慾望宣洩的需求，而人類的原始慾望包括兩類基本的本能：性本能（又 稱生本能或生命本能）和死本能 這一理論也可以用來解釋暴力行為和百年電影史中熱衷於表現暴力的深層心理原因。人們經常說，許多暴力電影使得犯罪率大大上

升，也有許多暴力犯罪分子坦言他們是看了某部影片而去模仿的，但任何事情都有它的兩面，我們不否認影視作品中過分的、超越道 德倫理界限的暴力可能會導致現實中的犯罪，但我們也不要否認，經過風格化處理的暴力在成為一種「美學」風格樣式之後給觀眾帶 來的前所未有的暢快淋漓的感覺，似乎能夠減輕其內心深處由陰影原型所激發出來的暴力嗜血的衝動。 同時，死本能與生本能正如一枚硬幣的兩面，電影中對暴力和死亡的描寫其實蘊含著強烈的人類求生的本能，電影人通過拍電影釋放 死亡焦慮，而觀眾則通過看電影釋放這種焦慮，這是電影中的暴力和「暴力美學」形成的最根本的心理機制。一般說來，人們對暴力 和死亡的反應有兩種，一是恐懼，這是最本能的被動的層面；一是以暴制暴，這是比較主動的反應。暴力題材影片也始終逃不脫對這 兩種反應的表現。

恐怖事件和局部的戰亂紛爭，無不影響著電影對於暴力問題的思考，因此對於電影暴力敘事的研究不僅是為了更全面地梳理出這類題 材影片的歷史發展脈絡，更是試圖通過縱向的梳理和橫向的比較，從而把握世界舞台上社會文化心理的變化，這也是本文的社會學意 義。 暴力長期以來作為一種道德禁忌，對於普通民眾而言增添了許多神秘感。 歐洲的心理學家里伯（Ribot）就曾說「對一個人、一個政治制度、一個政府顯現出狂熱信念者，絕不會認為它軟弱無力，即使他的看 法錯了，也不會屈服，而會去另尋假理由」。1因此當暴力形成一種發洩壓抑的藉口，在從眾心理作祟之下，加上有心人士的推波助 瀾，暴力行徑便會被合理化，甚至美化成英雄的行為，所謂的「暴力美學」於焉成形 2 - Start a draft essay plan In word (any text software of choice) please copy this to googlesheets/docs for our next session for me to help comment/critique) Plan structure/guide: Opening (summery of the ideas you will explore) 2 - 4 paragraphs. (half a page - 1 page) In the project of my thesis, I have explored the topic of violent aesthetics. I will continue to analyze my research data in depth to support the meaning of my final work. I will discuss the aesthetics of violence in movies, and I will also study the works of Takeshi Kitano, which has many

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Ribot , Th.（1896：212） 。

movies with aesthetics of violence. Analyze the pictures in the movie, and analyze a so-called violent picture, does it only contain violence?

(This is a research question) I will also analyze many different film books and other materials that have related violent aesthetics.

As mentioned in Haruki Murakami's 1Q84 book, violence may also become the key word.

A simple paragraph is also a question in my thesis. Society rejects the existence of violence. Reject the gore.

But why there are still violent images in art works, and even the term "violent aesthetics" is proposed. Therefore, at a different level, our thinking about violence seems to have a different view, which makes it reasonable to appear in the movie screens. Think about it, this so-called "violence" that is rejected by society may actually contain different emotions. Why talk about emotion? Because in the next data analysis, I will explore the relationship between violence and emotion. If the so-called violence is pure violence, then what is the meaning of this behavior in the movie screen (not to discuss all movies) A violent remark was mentioned in the Imagination Community: "When observing hatred and violence under a structure with sufficient conditions, the effort is to see clearly the correlation between the legitimacy before the event and the degree of support after the event. Without this correlation, hatred and violence would not be so rampant.

Take a clear example. To observe the various sources of hatred or violence, one can criticize a popular myth: "Hatred is innate and natural." As if "hatred" is more pure than "respect"? But hatred is not born naturally, but created. Violence is not born, it needs to be brewed. " That is to say, there are different conditions for violent behavior, and it is "produced." Therefore, creators are willing to join this behavior to strengthen the meaning of the work and inject new meaning to reinterpret the composition of violence.

If violence is not pure blood, what does this act contain?

If violence has another level of emotion, will society redefine this behavior?

The appearance of violent aesthetics in movies has become the starting point for everyone to explore meaning

Does violent aesthetics appear in the real world?

Is the thinking before violence a simple attack?

Thinking after violence, is there only regret?

Main essay content (main body of text) Layout idea and themes in detail with contextual, theoretical and historical background 主要論文內容（正文） 具有背景，理論和歷史背景的詳細佈局思想和主題 自電影誕生以來，人類對於暴力問題的思索總是縈繞在光與影構成的話語空間 Perhaps break this into 3/4 chapters / titles (for now just write some titles and rough idea of what will go in each chapter) 希臘哲學家赫拉克賴脫（Heraclitus）就曾說過：「衝突是一切之王，一切之父」。此在意味著人類心理同時存在著感性與理性，邪惡 與善良，野性與智能等等的矛盾現象，他又說：「無知的人無法瞭解和諧中包含了緊張，就像樂弓和琴弦的關係一樣」。將彼此衝 突、緊張的兩極關係，重新導入和諧，就是一件美妙的藝術作品。2藝術作品可以描述與表現暴力，但是其目的在於剖析暴力的本 質，在於指向暴力的虛無與無意義 Conclusion Summerize your idea and project development on the subject Clarify your own findings and interpretations of the content you have explored.

3 - 6 paragraphs (1 page - 2 pages) 2

王溢嘉（編譯，1981：207） 。

而「暴力美學」提倡者所為，只不過是極力將群眾推入擠壓至生理的層次而已，更甚者， 「暴力美學」所極力努力的，很多都是激 發人類與野獸無異的獸性罷了，以暴力為其生命的價值，除了自我名利的完成之外，實際上他們一無所有，他們先採用了以暴力觀點 來結構的人生意義，卻又對這樣一個毫無意義的人生顯得驚慌失措而絕望，他們活在一個空虛與虛榮的假象裡而不能自拔。事實上， 高層次藝術的美，絕非完成於藝術家狹窄而功利的「自我主義」的牢籠裡，歷史上證明，高層次的藝術家和哲學家與宗教家無異，真 正好的作品大多誕生於畫家奉獻自我、堅持一生、遠遠離功利污染的生命歷程裡，他們的創作正是他們內心尋求超越的心靈圖象，是 智慧、靈感與不凡的圖象。藝術存在的意義，便在於去指向這一種超越的天性，去尋求這一種「大我的完成」 ，甚而言之，以性靈進化 的角度來看，以「暴力」為美，不但是心理的病態癥候，更是人類性靈層次的嚴重墮落與退化，是違反人性走向更高級進化層次的絆 腳石，我們不能否認暴力的存在，因為它正是展示著自然界因波動而生生不息的現象，但是我們可以嘗試將內在與外在的衝突導向昇 華的途徑，經由最小波動的方式尋求宣洩心靈能量或是轉化或是淨化其非理性的部分，而非刺激它朝向更激烈、更情緒、更具破壞性 與傷害性方向。人之為人，之為萬物之靈，畢竟與其他動物不同，心理學家馬斯洛說得好： 「人有一更高及超越的天性，這正是他存在 的本質」 。3

3 - Start a bibliography of key texts you can use and supporting visual references. 「暴力美學｣此一名詞的誕生，則是根源於極端個人主義的偏見，部分二流的藝術家以其錯誤的認知，認為藝術創作是極端個人主義 的產物，藝術家可以被排除在社會責任與使命感之外，於是打著官冕堂皇所謂「為藝術而藝術（Art for art’s sake）」的旗幟，藝術家 可以任所欲為，甚至擁有胡作非為的特權，他們標榜「極端個人主義的創作自由」，殊不知藝術家也是社會的一份子，個人與社會本 就是一體，任何個人或小眾的行為都會對人類社會產生影響，強調「為藝術而藝術」根本就是將心靈局限於小我的「個人監獄」

目標結語：

此 project 我將繼續針對更多包含著暴力美學的電影思考，如 Clock orange Francis Bacon 作品的的研究支持，在此論文中我也加入了一 些對於最後作品的思考，我可能會使用我本人小時候的照片來結合暴力元素，我希望帶入更多情感的元素來結合暴力的元素，希望觀 看者看見作品時，可以有更多的情感層面的思考，也就是前文提到，暴力是否有包含著情感元素，何謂暴力與為何暴力將有不同的面 向思考。也就是我設定 3 為我論文題目的基礎，暴力不會只有對立的兩個面向，我試著創造出第三甚至第四種以上的面向思考。也強 調出，並非鼓勵與支持暴力行為，而是站在一個藝術性的思考，來研究關於暴力中的情感層面，更深層的思考，我更加希望談及與研 究，也許應該稱為，‘’自我的暴力‘’。 期待性作品：

預計將結合我童年的照片來結合暴力元素的思考，使用一些對比性的元素來完成作品，也是一些社會性的議題。兒童與暴力看似對比 或衝突，但其實當前社會對暴力的認知也因為資訊爆炸下的社會產生年紀下滑。暴力元素的思考我將加入更多社會性與議題性的想 像，讓整體作品可以更加多層的結構，並非只單純研究與談論電影中的畫面思考，也就是在研究資料中，我也加入許多時代性與政治 性的文獻，增加整體作品到深度與複雜度。 THINGS TO THINK ABOUT Redefining Violence • Look at other definitions and write your own (keep it short - task one will help with this) Suppression of violence (ignoring its existence / repressing it is unhealthy? why?)

Can you find theorists, texts or physiological reasoning for this?

Expand on this idea and be clear what you are trying to say.

Safe forms of expressing of violence?

Can you find theorists, texts that explore this idea?

Expand on this idea and be clear what you are trying to say.

Violence as a metaphor?

Different visual metaphors for violence (like the flower) Are you re-framing violence?

3 Three walking of Violence

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How to establish a new communication or art form to talk about research topics on violence aesthetics, thinking about why people use violence to express their emotions, this form of violence, I will study more personal or emotional aspects, I read and watched many films about the aesthetics of violence by Japanese director Kitano Takeshi. The violence in the film is used by myself or in the emotional aspects of my deep love. This paper does not focus on the study of violence of too large size. I constructed the primary question to think about why people use violence to face their loved ones, or why they use violence to face themselves. In the most difficult moments, people often use violence against themselves to solve problems. Therefore, I think that the existence of violence sometimes contains more than just violence, but contains a large number of emotional levels, that is, why it is possible to construct a violence aesthetic. Vocabulary and aesthetics contain many emotions, and spirituality also includes absolute reality. So I watched the film of Japanese director Kitano Takeshi repeatedly to support this research. In the film, there are many struggles about ego, suicidal thinking, and deep thoughts about emotions, all of which bring the term violence to another level of thinking, which is also the central idea of my research. And why did I order the topic three

Three, The Walk of Violent Aesthetics In the project of my essay, I have explored the topic of violent aesthetics. I will continue to analyze my research data in depth to support the meaning of my final work. I will discuss the aesthetics of violence in movies, and I will also study the works of Takeshi Kitano, which has many movies with aesthetics of violence. Analyze the pictures in the movie, and analyze a so-called violent picture, does it only contain violence? (This is a research question) I will also analyze many different film, books and other materials that have related violent aesthetics.

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As mentioned in Haruki Murakami's 1Q84 book, violence may also become the key word.(2014) A simple paragraph is also a question in my thesis. Society rejects the existence of violence. Reject the gore.

But why there are still violent images in art works, and even the term "violent aesthetics" is proposed. Therefore, at a different level, our thinking about violence seems to have a different view, which makes it reasonable to appear in the movie screens. Think about it, this so-called "violence" that is rejected by society may actually contain different emotions. Why talk about emotion? Because in the next data analysis, I will explore the relationship between violence and emotion. If the so-called violence is pure violence, then what is the meaning of this behavior in the movie screen (not to discuss all movies)

Research point

My FMP call ‘’three 3 walking of violence’’. why Is three? I will stand three side to discuss or let people reconsider what is violence or why the people will use violence to present their emotional, this is not focused on the crime or encourage people to use violence. This is the research why artist will use violence this behave to create new conversation or new form for aesthetic 3. A number that I love. There are many profound stories about this number.

Some people say that it is the number of God. For a person with deep faith, there are always some emotional triggering moments. In many current art learning research experiences, we always learn to create relatively critical thinking structures. Or a slightly destructive reflection response. This is a self-explanation of the number three. The starting point of this story can be translated into the shouting or struggling of imprisoned souls.

Stand by a third party to watch and understand the response to such behavior as violent conflict

2020 Google movie photo by Blood and Bone

Since the birth of the film, human thinking about violence has always lingered in the discourse space composed of light and shadow.

2020 Google movie photo by Violent Cop

2020 Google movie photo by Hana BI

Confirming myself so I kill something.

Parasite

2020 Google movie photo by Parasite

The whole film, I think it revolves around a "true lie" A very common saying is, "Many things are known to be the truth, but they must not be told, because they will hurt each other."

Why would the truth hurt each other?

Because of the social structure, everyone wants to live in a more beautiful world (money, sex, house) In recent years, there is a famous (popular) quote from Amzon CEO Bezos: "Smart is talent, kindness is choice" But in the movie there is a paragraph: "With money, if I have this pile of money, I will also be kind."

When the whole family pursues the worship of money, will you follow it?

(Still trying to find your own role?)

When society tells you what is the meaning of success, will you follow it?

(Still trying to live in your own society?)

Would you kill the thinking of establishing social rules for your own independent thinking?

If you are the boss, Hardworking talent from humble background versus Hardworking talent with noble background Who will you use? Or who do you really want to use?

I talk about violence aesthetics, not just violence But do not avoid violence, because that is a key word. (subjective) "In order to confirm his role, I killed someone."

If the rules are not killed, how can I confirm my identity?

(Just my research experience) Because of research papers, talking about violent picture movies.

Society denies violence, but many movies use violence and blood to tell you some "confirmation" What do you think of violence?

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Explain the deep psychological reasons of violence and the passion for showing violence in movies.

It is often said that many violent movies have greatly increased the crime rate, and there are also many violent criminals who confess that they have watched a certain movie and imitated it, but everything has its two sides. We do not deny the excessive and transcendence in the film and television works. Violence within the boundaries of morals and ethics may lead to crimes in reality, but we should not deny that after stylized violence has become an "aesthetic" style, the unprecedented invigorating feeling brought to the audience seems to be able to reduce it. The violent and bloodthirsty impulse inspired by the shadow archetype deep inside.

At the same time, death instinct and life instinct are like the two sides of a coin. The description of violence and death in movies actually contains a strong human survival instinct. Filmmakers release death anxiety through filming, while audience releases this through watching movies. Anxiety is the most fundamental psychological mechanism formed by violence and "violent aesthetics" in movies. Generally speaking, people respond to violence and death in two ways. One is fear, which is the most instinctively passive level; the other is violence against violence, which is a more active response. Violent movies have always been unable to escape the performance of these two reactions.

First of all, as a researcher in the field of art, self-dialog and self-observation, perceptual objectivity, and rational subjectivity seem to be a conditional necessity, although many people often say that everything can be art. Everything becomes art, I always try to distinguish the difference between the creator and the researcher. How does a creator's perceptual angle and the researcher's critical sensibility form a more objective equilibrium distance? This is a relatively opposite dialogue about researchers and creators. So I tried to think of a falsely balanced structure from a third party. What is false? Subjectively believe that when Dadaism emerges, the degree of thinking records can become some creative works with dialogue, which will return to whether a creative work needs to contain a dialogue response. Simply put, art needs dialogue. ? Whether creation is used for communication or a representative product of beauty. 1. If the core of creation comes from communication dialogue, why is it necessary to use this relatively perceptual way to build a bridge of communication, and communication needs to be clear, but the clarity of creation comes from the author ’s own way, This way is an absolute subjective expression, which should not need to be understood objectively. 2. If the creation can be communicated with beauty in other words, the existence of beauty is more complicated than communication. There is always a back and forth dialogue in art history about what is beautiful and what is ugly, and how to construct a clear dialogue in this vague area. (I think that a creative structure, dialogue and communication are only the last part of thinking) As a researcher who must "guide" and "art", this is a starting point for thinking. It is relatively ironic to say, aesthetics and art are not Mathematical formulas have clear explanatory factors. How should an extremely perceptual element be "researched" from a relatively objective perspective, and use a relatively subjective "language" to allow viewers to obtain the same "sensual" dialogue? So about struggling.

Starting from the film of violent aesthetics, the relationship between politically and violence, revolution and violence, and the response or feedback after violence. In the preface, I talked about many souls about artistic creation. Why did I use this passage as the starting point of this thesis, because the part of the violent behavior that I want to involve not only studies violence against others, but also wants to study or think about myself Self-violence, such as suicide, re-emphasizes that it is not to encourage violence and suicidal behavior, but from an emotional and artistic research perspective, whether violence or violence against oneself has any effect on oneself and others? Important feedback. I have watched many films of Kitano Takeshi now, and there are various acts of violence, and I began to think about what kind of emotional response this act is for? To deprive others of their freedom in exchange for more freedom, or to say that violence is to satisfy the expectations of others. Expectations contain emotional elements. What kind of emotional feedback does that suicidal thinking deprive of my life in exchange for? Is hurting yourself in exchange for different emotional behaviors of others? In Clockwork Orange, it was said that some social behaviors sometimes come from unresponsive emotions in society. Only violent behaviors are left to express their own voices. Many people in the society do not have many choices, so they can only choose non-moral thinking behaviors (violence) and so on ...

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2020 Google movie photo by Takeshi Kitano

Violence Aesthetics" is beautiful or not

2020 Google movie photo by Ichi the Killer

"Violence aesthetics" is a kind of beauty. Its charm lies not only in its good-looking form, but also in its conformity to the human subconscious

In addition to sex, violence is also an object of universal appreciation and worship Violence is a mysterious existence in the current society. In the world in which we are generally present, everyone always avoids (faces) the so-called (violence) behavior, which creates a state in which people think about the necessity of existence "possibly" for violence. For example, the book "The Age of Freedom of Difference" mentions violence, or wrist strength. It is because of this that human beings can survive. Whether it’s hunting, gathering or farming, everything is like this. In the earlier world, humans must rely on hunting for survival. Such "violent behavior" should be violence for survival purposes. Whether this behavior is prerequisite, this "violence" is different from the current social "moral violence" Thinking about the direction. The era of freedom of difference also mentioned that observing hatred and violence under a structure with sufficient conditions is to see clearly the correlation between the legitimacy before the event and the degree of support after the event.

Different definitions of "violence" will be produced under different social viewers' environments and different structures from artificial perspectives. This paper will redefine the interpretation of the so-called "violent" behavior based on the analysis of different researchers, artists, and directors. It will also explain whether there is an aesthetic of violence or whether this aesthetic is deliberately deliberate by the creator. The creative vocabulary of reasonable violence?

Aesthetic perspective to modify elements such as "violence" "Aesthetics of violence" was born from the prejudice of extreme individualism. Some second-rate artists believed that artistic creation is the product of extreme individualism, and artists can be excluded from social responsibility and mission. In addition, under the banner of the so-called "art for the sake of art", artists can do whatever they want, and even have the privilege to do anything wrong. They advertise "extremely individualistic creative freedom", but they do not realize that artists are also members of society. , The individual and society are one entity. Any individual or niche behavior will have an impact on human society. Emphasizing "art for the sake of art" is basically a "personal prison" that limits the soul to the ego.

Deconstruction of “Aesthetics of Violence”

Standing in a structure that studies the relationship between artistic behavior and violence, different violent behaviors will produce different interpretations of viewers. The artistic products after physical violence will produce polarized comments because of such physical behaviors. The violence is clear, and it is clear that the viewer produces "obvious" violence. The latter so-called "psychological violence" and "invisible violence". If such metaphorical violence is used, the viewer will not be too obvious and extreme to think that "the intensity of psychological violence" or even those who cannot accept psychological violence. It's that their hearts are not strong enough. Because this is "invisible violence." In the films directed by Takeshi Kitano, there are often artistic techniques that overlap between "physical violence" and "psychological violence." In Kitano Takisha’s book Thinking, it is also mentioned that in addition to violent behavior, he wants to evoke the meaning of survival for everyone, because it is necessary to survive before all violent behavior (hunting) occurs.

2020 Google movie photo by Takeshi Kitano and my work

It is mentioned in the book The Age of Freedom of Difference: Don’t wait until the blind anger is vented to observe hatred, because there are other ways to deal with it: specific forms of hatred are the responsibility of lawyers and police. However, everyone in society is responsible for the forms of exclusion and restriction, as well as the despicable xenophobic tactics in attitudes, habits, behaviors, and beliefs. Violence is an accumulated emotion, not the most direct emotional response of the moment. The quotation in this passage is not a reasonable act of violence, but a different point of view to illustrate the process of violence. Both complex violence and pure violence come from the process of emotional accumulation. Explain that the production of violence is a product of emotional accumulation. The product of this behavior is formed by social ethics. Violent behavior comes from violence and does not contain emotion. Therefore, artistic performances use "violent behavior" to embellish art. The premise of violence in Kitano Takeshi's films emphasizes that violence occurs because it is too caring, and violence occurs because it does not know how to express emotions. It is not violence because of violence. But in the current society, violence is violence. Movies with violent aesthetics have also become because of the violence in the movie, so the screen will influence the viewer to indirectly produce violence?

The influence of artistic behavior and artistic consciousness In a 1993 speech on art and economics, Huck also quoted his arguments on mechanism and ideology to illustrate the influence of culture on social values: "The most successful ideological effects often require no words, that is, acquiescence to obey. Any analysis of ideology (in the narrow sense, legitimating discourses), if it does not include research on the operation of related mechanisms, is tantamount to enhancing the effect of that ideology.”

The so-called artistic acts or performances usually want to bring viewers some different emotional reflections, such as a dialogue between violence and artistic acts. Kitano's films often have no lines, only acts and only music. The director wants to give the viewer's consciousness there may not be a clear answer. A lot of behavioral metaphors are used in the film, there is no correct answer, and there is no positive negative violence. Kitano Takeshi also mentioned in the book Complete Kitano Takeshi: "To show all the information clearly to the viewer, that would be too despised for the viewer."

But when people watched Kitano Takeshi’s movie, they successfully impressed many people from Kitano. The consciousness of art also produces extreme and different reflections. Because there is no explanation, all explanations come from the viewer. For example, violence always comes from the viewer, but who can really make the most reasonable meaning to violence that should not exist?

Violence has long been a moral taboo, adding a lot of mystery to ordinary people.

Ribot, a European psychologist, once said, "A person who has shown a fanatical belief in a person, a political system, or a government will never regard it as weak and weak. Even if his opinion is wrong, he will not give in, but will Go and find another reason for falsehood." Therefore, when violence forms an excuse for venting repression, under the influence of the psychology of conformity, coupled with the support of the people, the violence will be rationalized, and even beautified into heroic behavior. The so-called "violent aesthetics" is formed. (Ribot , Th.1896,212) Violence has become a relatively rare phenomenon in a person's life, creating a sense of mystery and conflict with violent behavior. Artists or creators will use this sense of conflict as a medium for artistic performance. Let viewers have an idea other than violence when watching a work, which means that for the violence of moral negation, the artist uses creative artistic techniques to package the soul of moral negation, and gives a new term "violence aesthetics" and uses violence This behavior redefines people's reflection on moral meaning. In Kitano Takeshi's movie, this technique will also be used to reinforce how fragile the so-called emotions between people are. Generally speaking, there will not be a lot of violent behaviors or pictures in life from time to time, but when a lot of violent behaviors occur in an artistic act, the creator does not emphasize the violence, but hopes that the viewer will start to reflect or reflect. Redefining, the violent behavior that people deliberately avoid is whether they are afraid of the pain and conflict of this behavior, or is morally indoctrinated that violence should not exist in society. For example, violence can only exist in artistic acts or movies. What is the difference between violence in reality and artistic acts?

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A set of violence A sudden violence A piece of violence hunted in nature A piece of violence for survival A piece of violence for emotional expression A piece of artistic violence for the sake of art

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The advocates of "violent aesthetics" are nothing more than trying to push the masses to the physical level. What's more, many of the "violent aesthetics" efforts are inspiring the animality that is indistinguishable from the beasts. With violence as the value of their lives, they actually have nothing except the accomplishment of their fame and fortune. They first adopted the meaning of life structured with a violent viewpoint, but they were panicked and desperate for such a meaningless life. , They live in an illusion of emptiness and vanity and cannot extricate themselves. In fact, the beauty of high-level art is by no means completed in the narrow and utilitarian "egoism" cage of artists. History has proved that high-level artists and philosophers are no different from religious scholars. Most of the truly good works are born in In the life course of painters who devote themselves, persist in their lives, and stay far away from utilitarian pollution, their creations are images of their hearts seeking transcendence, images of wisdom, inspiration and extraordinary. The significance of art is to point to this transcendent nature and to seek this kind of "completeness of the self." In other words, from the perspective of spiritual evolution, the beauty of "violence" is not only a mental illness. Symptoms are even more serious degradation and degradation of the spiritual level of human nature. It is a stumbling block that violates human nature and moves toward a higher level of evolution. We cannot deny the existence of violence, because it shows the phenomenon of nature that is constantly growing due to fluctuations, but we can Try to direct the internal and external conflicts to sublimation, seek to vent the spiritual energy or transform or purify its irrational parts through the smallest fluctuations, instead of stimulating it towards more intense, emotional, destructive and Harmful direction. Human beings are human beings, and they are the spirit of all things. After all, unlike other animals, psychologist Maslow puts it well: "Man has a higher and transcendent nature, which is the essence of his existence."

Experiment

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Violent aesthetics is actually a movie view that returns aesthetic choices and moral judgments to the audience.

It means that the film no longer provides social models and moral guidelines 2020 Google movie photo by Ichi the Killer

VIOLENCE VIOLENCE VIOLENCE VIOLENCE VIOLENCE VOLE VIOLENCE VIOLENCE LOVE Emotion BLOOD TOOL KILL LOVE PAIN & LIFE

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Emotion

THIS IS TOOL

VOLE VIOLENCE VIOLENCE LOVE

VIOLENCE VIOLENCE VIOLENCE VIOLENCE VIOLENCEVIOLENCE VIOLENCEVIOLENCE

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Director Takeshi Kitano said: "I want to evoke the meaning of life for everyone."

Survival can be stable, and survival may have to be hunted. It is all for the way of life. This thesis is discussing the aesthetics of violence and life emotions. relationship. Not all so-called conflicts are bloody beginnings, and not all violence is pure killing. These behaviors may be a way to illustrate the appearance of people and spirits. It may also be that the artistic behavior deliberately expresses some creative behavior patterns that are strengthened.

Any existing behavior has been regulated by social morality to regulate right and wrong, and the meaning behind everything may surpass the socalled morality. It does not emphasize the rationality of violence. It is the "violence" that exists in many movies, images, and artworks. Is it because there is imagination in violence, so people set a rule that violence can only be imagined, or is it because people have a mysterious attraction to violence that leads to the need to regulate violence and only the imagination of art. There are many violent behaviors in the laws of nature. Predation, hunting, and spouse competition are all violent behaviors to a certain degree. But these violence is not pure violence, but violence for survival. What about violent wars between countries? Whether it is also called violent behavior, there are continuous wars in different regions in the world, and people always avoid talking about violence. Regardless of whether it is natural or artificial, violence and human beings are inseparable, how to deal with behaviors that exist now but are often denied. Or people can only accept the violence produced by themselves, but cannot accept the violence of others. Isn't this kind of only accepting one's own subjective thinking and not accepting the ideas of others, is it also the spiritual violence mentioned in the article?

Humans have constructed and multi-moral laws to regulate the right and wrong of things. Right and wrong have become a legal rule. "Violence" is a kind of destruction, destroying the revolution of current thinking. Therefore, the aesthetics of artistic violence seems to be a necessary meaning.

Art, politics, and violence are all revolutionary methods. Are there any differences in these behaviors?

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Outcome

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E

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Outcome reflection: This thesis is to reflect more argumentation on the aesthetics of violence, and to illustrate the relationship between the images of violence and aesthetics from different sources. And finally extended into my final work presentation. In Kitano Takeshi's movies, many "violent behaviors" are used to express the response to emotions. The basis of each picture is emotion to establish behavior. In one book, various forms of violence are also distinguished. Domestic violence, political violence, emotional violence, etc.

I deliberately wanted to distinguish between emotions and real violent behavior to illustrate my research process. I deny violent behavior and do not support violent behavior. It just uses artistic methods to create an aesthetic possibility. Hegel said that everything that exists must be reasonable. Since there are movies with violent aesthetics, it must be worth exploring. Support my voice on the basis of all evidence to construct a new violent aesthetic voice.

In my final work, I invited a couple to support the starting point of my work. If two people who love each other and have feelings for each other, if they are given weapons to look at each other, will there be a change in their thinking? I try to combine violent and emotional elements into an artistic experimental work.

I also use color to make a visual imagination and construction, and use color to discourage the audience's thinking about the work.

In my work, I use my pictures. A large number of women show that violence is always based on women, so violence between men sometimes becomes a just existence image. I try to add different messages and perspectives to my work, so that the audience can rethink whether violence and aesthetics can establish a relationship when watching my work.

With the support of different academics and materials, to construct my own voice, emotion and violence are the important elements of this paper, and they are also the message that my work most wants to convey. Perhaps the viewers have many different views from me and my work.

But they are all experiments in my construction works. A work can have different viewing sounds, such as the violence I studied, and an action can also produce different meanings and sounds.

The title of the essay was also constructed for this reason: 3 Violence of walking; I hope that when viewers watch my work, they will not only think about both pros and cons, but may also have a third-party perspective. My work is also to bring viewers new walking thinking.

-2021 UAL LCC JUN QI XIE MA Design for Art direction Essay. Three walking of violence.

Reference Book: Farson, D. (1994). The Gilded Gutter Life Of FRANCIS BACON. London: Vontage.

Film: Takeshi Kitano, & Shôzô Ichiyama Toshio Nabeshima Takio Yoshida. (1989). Violent Cop. Shochiku.

Takeshi Kitano, & Nozomu Enoki. (2004). Hana-bi, released in the United States as Fireworks.Bandai Visual Office Kitano Tokyo FM TV Tokyo.

Yōichi Sai, & Masayuki Mori Yasushi TsugeTakio Yoshida. (2004).Blood and Bones.Kino Entertainment.

Katsuhiro Otomo, & Ryōhei Suzuki Shunzō Katōa. (1988).Akira.Tokyo Movie Shinsha.

(2020) Google search Violent Cop (TAKESHI KITANO FILM) (2020) Google search Violent Cop (TAKESHI KITANO FILM) (2020) Google search Blood and Bone (Yōichi Sai FILM) (2020) Google search Blood and Bone (Yōichi Sai FILM) (2020) Google search Akira (Katsuhiro Otomo FILM) Photo Reference: https://m.imdb.com/title/tt0222851/mediaindex......

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Photo Reference Figure 1.Xie, J (2020) On my way to work [Photograph] Figure 2. Xie, J (2020) On my way to work Figure 3. Xie, J (2020) On my way to work Figure 4. Xie, J (2020) On my way to work Figure 5. Xie, J (2020) On my way to work Figure 6. Xie, J (2020) On my way to work Figure 7. Xie, J (2020) On my way to work Figure 8. Xie, J (2020) On my way to work Figure 9. Xie, J (2020) On my way to work Figure 10. Xie, J (2020) On my way to work Figure 11. Xie, J (2020) On my way to work Figure 12. Xie, J (2020) On my way to work Figure 13. Xie, J (2020) On my way to work Figure 14. Xie, J (2020) On my way to work Figure 15. Xie, J (2020) On my way to work Figure 16. Xie, J (2020) On my way to work [Photograph] Figure 17. Xie, J (2020) On my way to work [Photograph] Figure 18. Xie, J (2020) On my way to work [Photograph] Figure 19. Xie, J (2020) On my way to work [Photograph] Figure 20. Xie, J (2020) On my way to work [Photograph] Figure 21. Xie, J (2020) On my way to work [Photograph] Figure 22. Xie, J (2020) On my way to work [Photograph] Figure 23. Xie, J (2020) On my way to work [Photograph] Figure 24. Xie, J (2020) On my way to work

2020 Jun QI Xie work no23.