구도의 영화와 히에로파니적 시간- <희생>과 <꽃섬>을 중심으로

Abstract

This writing, focused on <Offret> by Tarkovsky and <Flower Island> bySong, Il-gon, examines moments of sage which is what Eliade described as‘hierophanic time’. These productions, which can be seen as movies that seekafter the truth, show important paradoxical ideas and expressions in thosemoments. This is because symbolic messages from unrealistic and out ofordinary images are specifically shown. If they had to be compared, through the film <Offret> by Tarkovsky, thetechnical civilization of contemporary society in an apocalyptic view is criticizedand saved, or the prophetic will to not give up the desire for salvation is shown. In the process, the short shots which forces to show hierophanic time not onlydiversely visualized the author’s ideological self-consciousness towards theconversion of the new world, but it also fulfills the metahistorical meaningsmentioned by Eliade. However, in the film <Flower Island> by Song, Il-gon, the realistic personalsufferings of three women is specifically shown first in extreme. They overcometheir unsolvable problems through mysterious rituals and belief in miracles. Inthe scenes that include hierophanic time, there are many cases that coverChristian faith and the meaning of salvation. In other words, we can say thathierophanic time in <Flower Island>, are related to conviction which led tomoments of miracles in order to overcome reality. Therefore, even though there is a difference in the way authors usehierophanic time, the scenes that show it in the two movies display individualityof mythical imaginations disclosed by Eliade. This is because the general hopefor reproduction, or meaningful symbols related to the ideal conversion of affairsare revealed.