• Cross-Cultural Studies
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• v.34
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• pp.43-68
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• 2014

This writing, focused on by Tarkovsky and by Song, Il-gon, examines moments of sage which is what Eliade described as 'hierophanic time'. These productions, which can be seen as movies that seek after the truth, show important paradoxical ideas and expressions in those moments. This is because symbolic messages from unrealistic and out of ordinary images are specifically shown. If they had to be compared, through the film by Tarkovsky, the technical civilization of contemporary society in an apocalyptic view is criticized and 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 only diversely visualized the author's ideological self-consciousness towards the conversion of the new world, but it also fulfills the metahistorical meanings mentioned by Eliade. However, in the film by Song, Il-gon, the realistic personal sufferings of three women is specifically shown first in extreme. They overcome their unsolvable problems through mysterious rituals and belief in miracles. In the scenes that include hierophanic time, there are many cases that cover Christian faith and the meaning of salvation. In other words, we can say that hierophanic time in , are related to conviction which led to moments of miracles in order to overcome reality. Therefore, even though there is a difference in the way authors use hierophanic time, the scenes that show it in the two movies display individuality of mythical imaginations disclosed by Eliade. This is because the general hope for reproduction, or meaningful symbols related to the ideal conversion of affairs are revealed.