<지금은맞고그때는틀리다>의 반복된 시간

Abstract

Hong Sang-soo’s Right Now, Wrong Then connects two segments of almost the same length, often by removing and selecting them. Characteristics of this non-linear story can be found in other works. Multiple flashbacks in Hahaha and Hill of Freedom are completed through the connection of each segment. However, this film is unique in that the same logic, the same time and the same actors go through the same situations. The main character shows better judgment in the second case, and this study analyzes the film, focusing on the point. The first story in the film progresses very routinely. In a place where the main character arrives a day earlier, he happens to fall in love with a woman whom he meets by chance, but he ends up failing. However, in the second episode of the film, he succeeds in winning the love. As if what will happen in the future is predicted, he accumulates his behaviors based on the reactions of the female character and the people around him. The second episode implies the issue of the parallel arrangement, which had been excluded from the first episode. Regarding this issue, this study introduces the uniqueness of this work in terms of cinematic ‘point of view.’ As seen in the second episode, Right Now, Wrong Then is a film that achieves the goal of the main character’s desire through ‘internal crossing’ of viewpoints. In that sense, this film perfectly defines its own theme as a happy ending story. The ambiguity of decision-making, a philosophical approach to the ambiguity, and the mix of good judgment and bad judgment becomes the difference between ‘now’ and ‘then’ informed by the title. This study proves that the influence of the importance to form and structure, and Hong Sang-soo’s following of the method of the importance to the clarity of the gaze and the aesthetic principle of cinema, continue till now, through an analysis of the shots in Right Now, Wrong Then.