• Title, Summary, Keyword: <친절한 금자씨>

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and Historical Allegory (<친절한 금자씨>와 역사적 알레고리)

  • Han, Sang-Eon
    • The Journal of the Korea Contents Association
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    • v.13 no.6
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    • pp.86-94
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    • 2013
  • 2000s Korean cinema was influenced by capital, so it chose the way of Allegory instead of talking directly about sensitive issues. A representative movie director is Park Chan Wook who directed The Vengeance Trilogy. , The final part of Park Chan Wook's The Vengeance Trilogy, reflected Baroque Aesthetics. I analyzed focusing on Walter Benjamin's Allegory notion in this paper. Walter Benjamin said Allegory is different from a symbol which is represented by totality. Allegory means to reconstruct the fragment instinctively and to expose something repressed. The German Tragic Drama during the baroque period reflects this well. It is my argument that Park Chan Wook incorporated these underlying themes from German Tragic Drama into . He deconstructed the liberation and the birth myth of a nation, and he restored the socialist and anarchist who were completely excluded from history.

A Study on the Epic Functions of Baroque Music in the Movie - Based on the movie - (영화 속 바로크 음악의 서사적 기능 연구 -영화 <친절한 금자씨>를 중심으로-)

  • Ahn, Jun-Hee;Jeon, Yoon-Han
    • The Journal of the Korea Contents Association
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    • v.18 no.6
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    • pp.617-627
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    • 2018
  • Baroque music was the birth and growth era of modern music, but it was not composed for movies. Baroque music, however, is a feature that is inserted into the movies in many different forms, leading to the overall mood and narrative, and the ability to express the characters' feeling and inner word. Therefore, in this study, five Baroque music works, including the main theme song 'Vivaldi Cantata RV.684' in the movie , are produced, and analyzed through tonal, tempo, dynamics, musical notes, tones, rhythms, musical instrument, and genre. Through analysis, we will study what epic functions and roles Baroque music plays in movies.

Health people - 늙지 않는 배우 여전히 멋있는 최민식

  • Lee, Yun-Mi
    • 건강소식
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    • v.36 no.8
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    • pp.14-15
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    • 2012
  • 적지 않은 흰머리마저 매력적으로 보이는 50세 배우, 최민식은 막강한 힘을 가진 배우다. '파이란'과 '취화선', '올드보이', '친절한 금자씨', '악마를 보았다', '범죄와의 전쟁'까지 그 막강한 캐릭터를 연기할 수 있는 힘은 어디서 오는 것일까?

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Analysis of Voice-over Strategy of Chan-wook Park's Vengeance Trilogy (박찬욱 감독의 복수 삼부작에 활용된 보이스오버 전략 분석)

  • Chang, woo-jin
    • Proceedings of the Korea Contents Association Conference
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    • pp.215-216
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    • 2017
  • <복수는 나의 것>, <올드 보이>, <친절한 금자씨>는 죄와 복수, 구원의 문제를 다룬 박찬욱 감독의 복수 삼부작으로서, 보이스 오버를 활용한다는 공통점이 있다. 이 연구는 박찬욱 감독의 복수 삼부작이 각 내러티브의 주제에 따라 내러티브 정보를 통제하고 관객의 심리적 거리감을 조절하기 위해 보이스오버 전략을 어떻게 구사하는지 논의한다. 이를 위해 각 작품의 플롯, 초점화 유형, 보이스오버의 특징들을 분석한 결과, 보이스오버를 통해 관객의 정서적 참조점을 형성하고, 인물과 이야기에 대한 동일시나 감정이입을 통제하는 복수 삼부작의 특성을 확인하였다.

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A Study on the Costume and the inner symbolic meaning of the movie -Focusing on Keum-Ja's Costume- (영화 <친절한 금자씨>의 복식과 상징성에 관한 연구 - 주인공 복식을 중심으로 -)

  • Jang, Mi-Yong;Cho, Kyu-Hwa
    • Journal of Fashion Business
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    • v.12 no.1
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    • pp.16-29
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    • 2008
  • The purpose of this essay is to know the expressed form and color and also to examine the inner symbolic meaning of the movie "Sympathy for Lady Vengeance" by producer Chan-Wook Park. In the movie, the main character Geumja has double personality, having both images of a wicked woman and a woman saint, and she showed the clothing of both good and evil. For example, while she was in prison, her prisoner uniform while she was taking care of her inmates, her pajama which is the symbol of innocence when she was atoning and praying, Geumja's appearance wasn't fabulous when she was wearing baker's cloth that symbolize pure inside. But in contrast, Geumja who was released from prison planned and execute vengeance, dress colorful dress and primary color make-ups. Blue color coat with gloomy mood, black leather coat with the image of female warrior, and the slip with intensive image and etc express Geumja's will of revenge. Like this, depend on the psychology of main character Geumja, it's easy to recognize the change of clothing and color, and it's possible to understand the symbolic meaning in it.

An Analysis of Image of Femme Fatale Represented in the Movie 「Sympathy for Lady Vengeance」 (영화 「친절한 금자씨」에 나타난 팜므파탈 이미지 분석)

  • Yang, Eun-Jin;Lee, Un-Young;Lee, In-Seong
    • Fashion & Textile Research Journal
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    • v.9 no.2
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    • pp.197-202
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    • 2007
  • The femme fatale image presently observable in various fields is reproducing its image through repetitive imitation, change and application, in particular, through 'movies' which have a greater ripple effect on the public than any other mass media by incessantly producing a countless number of images. This study aims to figure out the intrinsic meaning and the characteristics of the image of femme fatale, understand the modern expression of it in movies and finally shed light on its image represented in Korean movies. For this study, the literature and internet materials related to the image of femme fatale in the movie "Sympathy for Lady Vengeance" and the general concept of femme fatale were comprehensively surveyed. The femme fatale image which is represented in this movie is classified into 4 images ; disguise & mystery, retribution & cruelty, enchantment & beauty, salvation & redemption. The findings of this study provide an insight into how the femme fatale image is expressed in movies, the mass media which has a gigantic ripple effect, and provide the momentum to recognize the need and significance of understanding the femme fatale image represented in Korean movies.

A Study on Color and Symbolism of Costume and Make-up Image Shown in Chan-Wook Park's Films - Forcing on the Series of the Revenge Movies , , - (영화의 의상과 분장에 나타난 색채와 상징성에 관한 연구 - 박찬욱의 복수극 <올드보이>, <친절한 금자씨>, <박쥐>를 중심으로 -)

  • Kim, Tae-Mi;Choi, In-Ryu
    • Journal of the Korea Fashion and Costume Design Association
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    • v.14 no.1
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    • pp.151-160
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    • 2012
  • The Purpose of this study is to examine the inner symbolic meaning of the revenge movies, forcing on , , by producer Chan-Wook Park. This study was analyzed with theoretical frames of Greimas's and Lacan's desire theory. The results of this study is as follows: Main characters of these films were tangled each their with love, desire, angry, hate and revenge. They also had desires and needs of revenge caused by deficiency. These films represented blue as sorrow, depression, frigidness, loneliness and deficiency, red as love, desire, angry, hate and revenge, black as strong will, till-eat, death, violence and bloody-mindedness and white as forgiveness, expiation and salvation. The function of colors in conveying meaning was very effected to analyzing the visual power implications and psychological effects on human feelings that colors have in the movie.

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The Interactive Significance of Red in Film Color : Concentration and Diffusion (영화에서 빨강의 상호작용적 의미 : 집중과 확산)

  • Kim, Jong-Guk
    • Cartoon and Animation Studies
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    • pp.241-271
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    • 2017
  • Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.