ANALYSIS OF CHANGHWA HONGNYŎN (A TALE OF TWO SISTERS)—WITH A SPECIAL FOCUS ON THE NARRATIVE AND CHARACTERS
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This study analyzes the story structure of director Kim Chiun’s film Changhwa Hongnyŏn (A Tale of Two Sisters), as well as the characters that arouse, lead, and complete the events that unfold in the story. While eight years have already passed since its release, this film continues to serve not only as the subject of many studies conducted by researchers involved in the field of film studies but also those engaged in the field of literary studies. To this end, this study begins by reviewing the opinion pieces written by film critics, pieces which caused much debate in fan magazines at the time of the film’s release, as well as the great majority of the previous studies that have focused on this film. Many individuals have conducted comparative studies about the direct and indirect relationship between the classic novel Changhwa Hongnyŏn chŏn and the film Changhwa Hongnyŏn. Such studies have focused on how the film adapted and transformed the classic novel, or how far the film deviated from the original work. However, these issues were not addressed in this study. This is because it is advanced herein that from the very beginning Kim’s decision to entitle his film Changhwa Hongnyŏn was based on a heavily calculated strategy that did not involve any intention to inherit or adapt (translate) any element of the original story in the film. The second issue which came to the forefront during the review of previous studies was the fact that the majority of researchers had a negative assessment of the film narrative’s degree of completion. In this regard, the present study conducted a thorough segmentation-based analysis of the text that saw the temporality and causal relationships found in the story be reorganized in a logical manner. The narrative structure of the film was also delved into in a detailed manner. Next, an analysis of the relationship between the characters and their personalities was undertaken. The dramatic relationship that exists between the characters was explained using the summary found in Figure 1. Thereafter, an analysis of the key characters, namely Sumi who serves as the film’s main character, and Muhyŏn (father), who serves as the cause of all the events that unfold therein, was carried out. An analogical examination of the elements which caused Sumi’s mental illness was also undertaken. Based on this process, the originality of Sumi’s complex ambivalence and how this ambivalence was expressed are clearly revealed. In the concluding section, the symbolism of the house as the background (space) for this film and its connectivity with the narrative was addressed. While the film does not suggest any alternative measures concerning the tragic situations that have been unlimitedly repeated inside of Sumi’s head, the present study does suggest that Sumi’s physical and mental departure from the house mark the first step towards overcoming her illness.
Abstract
This study analyzes the story structure of director Kim Chiun’s film Changhwa Hongnyŏn (A Tale of Two Sisters), as well as the characters that arouse, lead, and complete the events that unfold in the story. While eight years have already passed since its release, this film continues to serve not only as the subject of many studies conducted by researchers involved in the field of film studies but also those engaged in the field of literary studies. To this end, this study begins by reviewing the opinion pieces written by film critics, pieces which caused much debate in fan magazines at the time of the film’s release, as well as the great majority of the previous studies that have focused on this film. Many individuals have conducted comparative studies about the direct and indirect relationship between the classic novel Changhwa Hongnyŏn chŏn and the film Changhwa Hongnyŏn. Such studies have focused on how the film adapted and transformed the classic novel, or how far the film deviated from the original work. However, these issues were not addressed in this study. This is because it is advanced herein that from the very beginning Kim’s decision to entitle his film Changhwa Hongnyŏn was based on a heavily calculated strategy that did not involve any intention to inherit or adapt (translate) any element of the original story in the film. The second issue which came to the forefront during the review of previous studies was the fact that the majority of researchers had a negative assessment of the film narrative’s degree of completion. In this regard, the present study conducted a thorough segmentation-based analysis of the text that saw the temporality and causal relationships found in the story be reorganized in a logical manner. The narrative structure of the film was also delved into in a detailed manner. Next, an analysis of the relationship between the characters and their personalities was undertaken. The dramatic relationship that exists between the characters was explained using the summary found in Figure 1. Thereafter, an analysis of the key characters, namely Sumi who serves as the film’s main character, and Muhyŏn (father), who serves as the cause of all the events that unfold therein, was carried out. An analogical examination of the elements which caused Sumi’s mental illness was also undertaken. Based on this process, the originality of Sumi’s complex ambivalence and how this ambivalence was expressed are clearly revealed. In the concluding section, the symbolism of the house as the background (space) for this film and its connectivity with the narrative was addressed. While the film does not suggest any alternative measures concerning the tragic situations that have been unlimitedly repeated inside of Sumi’s head, the present study does suggest that Sumi’s physical and mental departure from the house mark the first step towards overcoming her illness.
참고문헌 (21)
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- Chŏng Sŏngil, "A strange and insecure anti-feminist film (Kiyi hago pulanhan panfeminist yŏnghwa)", Monthly magazine Mal, 205~ (2003)
- Chŏng Sŭnghun, "Although it fails to overcome the physical science aspect ofhorror, Changhwa Hongnyŏn is a work one cannot avert one’s eyes from (Kongp’o ŭi hyŏngyihahak ŭl nŏmji mothaetchiman nun ŭl ttelsu ŏmnŭn yŏnghwa,Changhwa Hongnyŏn)", Cine, 21(408) (2003)
- DJUNA, "Changhwa Hongnyŏn is interesting but fails to fillthe holes in the latter part of the film (Hŭngmiropchiman hubanbu ŭi pint’ŭm ŭlch’aeuji mothan Changhwa, Hongnyŏn)", Cine, 21(408) (2003)
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- Im Chongch’an, "Changhwa Hongnyŏn, a beautiful and sad horror (ChanghwaHongnyŏn arŭmdap ko sŭlp’ŭn horror)", nKino, ~ (2003)
- Im Pŏm (interview), "The film Changhwa Hongnyŏn as reviewed by Director KimChiun (Kim Chiun kamdok i malhanŭn Changhwa Hongnyŏn)", Cine, 21(406) (2003)
- Kim Chihun, "Horror which transforms into surprise, the capture of sadness bypsychology—Changhwa Hongnyŏn (Nollaumŭro pyŏnjil toen kongp΄o, simnihak eputchapin sŭlp’ŭm—Changhwa Hongnyŏn)", nKino, ~ (2003)
- Kim Chiun, "Changhwa Hongnyŏn (A Tale of Two Sisters)", DVD, WoosungEntertainment, ~ (2005)
- Kim Chŏnghyo, "Analysis of the color concept in horror films—with a specialfocus on the film Changhwa Hongnyŏn (Kongp’o yŏnghwa ŭi saekch’ae conceptpunsŏk—yŏnghwa ‘changhwa Hongnyŏn’ ŭl chungsim ŭro)", Journal of Basic Design &Art, 9(5) (2008), Korean Society of Basic Design & Art
- Kim Hyeri(summary), "The horror of Changhwa Hongnyŏn: Kim Chiun Vs YunChongch΄an (Changhwa Hongnyŏn ŭi kongp’o: Kim Chiun Vs Yun Chongch’an)", Cine, 21(407) (2003)
- Paek Munim, "Study of Korean Horror Films—With a special focus on thenarratives of female ghosts (Han’guk kongp’o yŏnghwa yŏn’gu—yŏgwi ŭi sŏsakiban ŭl chungsim ŭro)", 박사, pp.2002
- 박진, "공포영화 속의 타자들: 정신질환과 귀신이 만나는 두 가지 방식 - 장화, 홍련, 분홍신, 거울 속으로, 거미숲을 중심으로 -", 우리어문연구, 25(25), pp.179~196 (2005), 우리어문학회
- Sim Yŏngsŏp, "Changhwa Hongnyŏn is more focused on Sumi’s legs than herinternal world (Sumi ŭi naemyŏn taesin tari e t’amnik hanŭn ChanghwaHongnyŏn)", Cine, 21(409) (2003)
- Sŏ Chŏngnam, "Study of Film Narratives (Yŏnghwa sŏsahak)" (2004), Saenggak ŭi namu Publishing
- 성현자, "소설 모티프의 차용과 변용 - 소설 『장화홍련전』과 영화 <장화, 홍련>의 경우", 비교문학, 45(45), pp.189~214 (2008), 한국비교문학회
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- Yi Hyoin, "Changhwa Hongnyŏn is in no way related to the classic novel of the samename. It is nothing more than a violation thereof! (Changhwa Hongnyŏnchŏllae tonghwawanŭn amu sanggwan ŏmne! panch’ikida)", Cine, 21(408) (2003)
- Yu Unsŏng, "The genre imagination of the director of Changhwa Hongnyŏn(Kamdok ŭi changrŭ chŏk sangsangnyŏk, Changhwa Hongnyŏn)", Cine, 21(406) (2003)