Subverting patriarchal Buddhism in Spring, Summer, Fall, Winter…and Spring

IF 0.3 0 RELIGION
Jason Bartashius
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引用次数: 0

Abstract

Abstract A number of Kim Ki-duk’s films, particularly Bad Guy (2001), are infamous for the violence towards women characters. While feminist critics deplore Kim as a misogynist, alternative readings – some based on interviews with the director – suggest violence is the only way his silent characters, existing on the margins of society, can communicate. In this way, his body of work is not read as an endorsement of misogyny, but rather as a social critique of patriarchy. One film, however, that is considered unique and eludes these discussions is Spring, Sumer, Fall, Winter…and Spring (2003), a contemplative Buddhist story. I argue, in fact, the film is in dialogue with patriarchal Buddhist portrayals of women as temptresses and samsaric mothers. Further, since it appears the monks in the narrative are incapable of enlightenment, we should question if this is a result of their treatment of women.
颠覆父权制佛教的春、夏、秋、冬、春
摘要金的许多电影,特别是《坏蛋》(2001),因暴力对待女性角色而臭名昭著。虽然女权主义评论家谴责金是一个厌女主义者,但其他解读——有些是基于对导演的采访——表明暴力是他那些生活在社会边缘的沉默角色交流的唯一方式。这样一来,他的作品并不是对厌女症的认可,而是对父权制的社会批判。然而,有一部电影被认为是独一无二的,避开了这些讨论,那就是《春天,苏默,秋天,冬天…和春天》(2003),一个沉思的佛教故事。我认为,事实上,这部电影是在与父权制佛教对女性的描绘进行对话,将她们描绘成寺庙和三昧母亲。此外,由于叙事中的僧侣似乎没有启蒙能力,我们应该质疑这是否是他们对待女性的结果。
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CiteScore
0.30
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