소설 「화장」과 영화 「화장」 비교 연구

Abstract

“Hwajang” has a large narrative structure where death and life are contrasted. Chu Eun-ju is a character who implicates life․vitality․femininity․reason for existence, in opposition, his wife is a character who implicates death․extinction․non-femininity․non-existence. Those implications in the fiction are symbolic revelation on contrasting death with life in such a way as to treat personalities’ colors which individual characters may hold in the movie. In this process the explicit description of the fiction, which deals with a body getting closer to death, a body getting older and older, a body having young and beauty, is taken into more colorful visual images in the movie. The fiction “Hwajang” is progressed by a first person view of O Sang-mu. In treating inner confliction and affliction of him, it is deemed to be the most suitable person view. Notwithstanding to employ a first person view is almost impossible in movies which cannot avoid taking revelation. Discrepancy in person view makes necessarily images application to be conspicuous. That is to say, images application treating being living and being dying reaches ultimate contrast. By the reason it causes a little discrepancy in the narrative structure. The movie succeeded in enabling other characters activated besides O Sang-mu, subsequently it leads to effect as to let the theme more variety. Furthermore, there is a little discrepancy in both works in terms of theme consciousness, the fiction “Hwajang” is intended to observe life in a way of taking side with death, otherwise the movie “Hwajang”is intended to contain reason for existence which should be resuscitation from between life and death.