<밀양>의 영상언어, 내러티브, 주제의식의 상호작용 = A Study on the Interaction of Film Language, Narrative and Theme in Secret Sunshine

다국어 초록 (Multilingual Abstract)

Secret Sunshine is Chang-Dong Lee’s fourth film, and its leading actress, Jeon Do-yeon, won the Best Actress Prize at the 2007 Cannes Film Festival for her amazing performance. The film is based on the short story, The Story of the Worms (1985) by Chung-Jun Lee. The film, however, adapts only the motif of kidnaping from the short story. Its narrative and thematic structure are very different from those of the novel. The story centers around a woman named Shin-Ae who suffers severely from the sudden death of her husband and child. The Korean title, Milyang, meaning “secret sunshine,” is named after the city that serves as the film's setting and filming location.
From the perspective of film aesthetics, Lee’s previous films, despite of his consistent thematic consciousness and perfect narrative, have been criticized for the way of film representation. Lee’s films have strength in narration, characters and scenario. By contrast, his films have shown dull visual expression and techniques.
However, The Secret Sunshine reveals many effective strategies of film language such as camera, framing, shots, light and sound. This paper focuses on the analysis of screen grammar such as the use of film techniques and the strategies of representation of Secret Sunshine. The film shifts into a devastating study in human suffering, mainly using an objective camera viewpoint and the handheld camera. Objective camera viewpoint and angles are employed to control the psychological distance between the film and the audience. Camera works through medium and long shots build up the inner structure of its theme and characterization. The film also reveals a subtle use of images. Light and shadow and the strife pattern of dresses turn out to possess the richness of thematic depth and deep layers of meanings. Sound is directly collected from the streets of Milyang. No noise reduction work is attempted so that the voices and sound of real people can be captured as such. Music is used only four times, in a very restrictive way. This is for the sake of realism. Thus, these film-making techniques, visualization and camera works, lighting and image, sound and music, tactfully dissolve the barrier between the technical code of film language and theme.

다국어 초록 (Multilingual Abstract)

Secret Sunshine is Chang-Dong Lee’s fourth film, and its leading actress, Jeon Do-yeon, won the Best Actress Prize at the 2007 Cannes Film Festival for her amazing performance. The film is based on the short story, The Story of the Worms (1985) by Chung-Jun Lee. The film, however, adapts only the motif of kidnaping from the short story. Its narrative and thematic structure are very different from those of the novel. The story centers around a woman named Shin-Ae who suffers severely from the sudden death of her husband and child. The Korean title, Milyang, meaning “secret sunshine,” is named after the city that serves as the film's setting and filming location.
From the perspective of film aesthetics, Lee’s previous films, despite of his consistent thematic consciousness and perfect narrative, have been criticized for the way of film representation. Lee’s films have strength in narration, characters and scenario. By contrast, his films have shown dull visual expression and techniques.
However, The Secret Sunshine reveals many effective strategies of film language such as camera, framing, shots, light and sound. This paper focuses on the analysis of screen grammar such as the use of film techniques and the strategies of representation of Secret Sunshine. The film shifts into a devastating study in human suffering, mainly using an objective camera viewpoint and the handheld camera. Objective camera viewpoint and angles are employed to control the psychological distance between the film and the audience. Camera works through medium and long shots build up the inner structure of its theme and characterization. The film also reveals a subtle use of images. Light and shadow and the strife pattern of dresses turn out to possess the richness of thematic depth and deep layers of meanings. Sound is directly collected from the streets of Milyang. No noise reduction work is attempted so that the voices and sound of real people can be captured as such. Music is used only four times, in a very restrictive way. This is for the sake of realism. Thus, these film-making techniques, visualization and camera works, lighting and image, sound and music, tactfully dissolve the barrier between the technical code of film language and theme.

참고문헌 (Reference)

1 한선희, "희망과 구원, 결국 인간의 것"

2 김휘영, "한국영화 옥의 티, ‘밀양’ <1>."

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5 조선희, "이창동 vs 조선희, <오아시스>를 말하다"

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13 이채원, "언어의 수사학과 이미지의 수사학??벌레 이야기?와 <밀양>을 중심으로" 9 (9): 2008

14 박유희, "서사의 숲에서 한국영화를 바라보다" 다빈치 2008

15 이청준, "벌레이야기" 열림원 2007

16 민순의, "논문 : 영화 《밀양》이 제기하는 인간학적 성찰 -악의 현실과 구원의 방향성을 중심으로-" 종교문제연구소 13 (13): 211-242, 2007

17 김혜리, "끈질긴 이야기꾼의 도돌이표"

18 이창동, "<밀양> 시나리오"