李沧东电影中的“异托邦”空间建构
The Space Construction of “Heterotopia” in Cangdong Li’s Films

观察韩国导演李沧东的创作序列，都市空间与农村空间的对照是其作品叙事的重要因素。无论是《燃烧》中所呈现的象征“上层阶级”的都市空间与象征“平民阶层”的农村空间，还是描绘农村空间中女性的《诗》，李沧东电影的空间表征往往与现代性特质相连，并与其作品的叙事紧密相关。本文结合法国哲学家米歇尔？福柯在1966年出版的《词与物》中所提出的“异托邦”的概念，探析李沧东如何塑造游离于主流社会群体之外的主人公，并将其放置在“异托邦”——一个被权力空间排斥的边缘空间之中。
Observing the creative sequence of Korean director Cangdong Li, the contrast between urban space and rural space is an important factor in the narrative of his works. Whether it is the urban space that symbolizes the “upper class” and the rural space that symbolizes the “commoner class” presented in “Burning”, or the “Poetry” that depicts women in the rural space, the spatial representation of Cangdong Li’s films is often connected with the characteristics of mo-dernity, and closely related to the narrative of its works. Based on the concept of “heterotopias” proposed by French philosopher Michel Foucault in “Words and Things” published in 1966, this paper explores how Cangdong Li created the protagonist who is free from the mainstream social group, and makes his place in “heterotopias”—a marginal space excluded from the power space.