<밀양>의 영상언어, 내러티브, 주제의식의 상호작용

김경애 문학과영상학회 2008 문학과영상 Vol.9 No.3

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. 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.

이청준의 「벌레이야기」와 이창동의 <밀양> 비교 고찰

김은경 한국현대문학회 2023 한국현대문학연구 Vol.- No.69

In this article, the original novel(Bug Story) and the film(Secret Sunshine) produced by adapting it are compared from an equal point of view. This paper conducted discussions on the spatiality of both works based on the concept of three-dimensional ‘depth’. In other words, the perspective of discussing the spatiality of the two works is placed on the same horizon. The second point, the discussion on the issue of emotion, develops on the basis of this discussion on spatiality. Therefore, it cannot be concluded that the results of these discussions converge to the genre differences between the two works. Chapter 2 reveals the aspect of representation through spatiality, a prominent difference between the two works. Section 2.1. focuses on the abstract spatiality of Bug Story. In order to prove this, the discussion began on the premise that the depth of space can be intuitively captured from the novel. From this point of view, it was revealed that Bug Story minimizes the depth of space like a close-up shot of a movie, and only "characters" are represented in a magnified mirror. Section 2.2. revealed that Secret Sunshine exposes the singularity of reproducing its specific spatiality not only visually but also audibly. First of all, Secret Sunshine specifically reproduces the character and the space occupied by the character through the depth of the field, allowing a glimpse of the correlation between the volume of the space occupied by the character and the intensity of the emotion felt by the character. In addition, what this paper paid great attention to is that the specific spatiality of the city called “Milyang” is acoustically reproduced in Secret Sunshine. The first half of Secret Sunshine reproduces the specific world of living with various sounds and embosses the inner feelings of the heroine who exists in it. Chapter 3 discusses that the theme consciousness (the relationship between ‘Humans’ and ‘Providence’) is realized differently within the two works through the problem of emotion, which is the essential common feature of the two works. Section 3.1. discussed that the emotion of the main character in Bug Story are ultimately subject-oriented. The wife, the main character, puts the Humans and Providence in an alternative relationship, and eventually chooses to extinguish Human in order not to betray Providence(God). Through this, I read the distance between Humans and Providence. Section 3.2. discussed that the emotion of the heroine is object-oriented in Secret Sunshine. This was revealed through the analysis of Secret Sunshine's filming techniques and ‘mise en scene’, and in the process, it was discussed that the film shows through the image aesthetics that the relationship between Humans and Providence is close and easy to crack. Through the above discussion, this paper compared two works of different genres in the equal horizon, and as a result, it was possible to reveal the uniqueness of each of the two works as a novel and as a movie. 이 글에서는 원작소설(「벌레이야기」)과 이를 각색하여 제작한 영화(<밀양>)를 대등한 관점에서 비교하고 있다. 이를 위해 두 작품의 결정적 차이점(공간성) 및 공통점(감정의 문제)에 주목하였다. 본고는 두 작품의 공간성에 대한 논의를 모두 3차원적 ‘심도’ 개념에 입각하여 진행하였다. 이와 같이 두 작품의 공간성을 논의하는 시각이 동일지평에 놓이기에 그 논의의 결과가 단순한 장르적 차이의 문제로 귀결된다고 보기 어렵다. 감정의 문제에 대한 논의는 이러한 공간성에 대한 논의의 바탕 위에서 전개되므로, 그 결과 또한 장르적 차이로 수렴한다고 단정할 수 없다. 2장에서는 두 작품의 두드러진 차이점인 공간성을 통해 재현의 양상을 밝히고 있다. 2.1.절에서는 「벌레이야기」의 공간이 추상적인 점에 주목, 이를 입증하기 위해, 소설에서도 ‘공간의 심도’를 직관적으로 간취할 수 있다는 점을 전제하고 들어간다. 이러한 시각에서, 「벌레이야기」가 영화의 근접촬영처럼 공간의 심도를 최소화한 가운데, ‘인물’만을 확대경적으로 재현하고 있다는 점을 밝혔다. 2.2.절에서는 <밀양>이 그 구체적인 공간성을 시각적으로뿐만 아니라 청각적으로 재현하는 특이점을 나타내고 있음을 밝혔다. 우선 시각적으로, <밀양>은 인물과 그 인물이 점유하는 공간을 피사계 심도를 통해 구체적으로 재현하는바 그 피사계 심도 조절을 통해 인물이 점유하는 공간의 부피와 인물이 느끼는 감정의 강도 간 상관관계를 엿볼 수 있도록 한다. 여기에 더하여 본고가 크게 주목한 바는 <밀양>에서 ‘밀양’이라는 도시의 구체적 공간성이 청각적으로 재현되고 있다는 것이다. <밀양>의 전반부는 다양한 소리들로써 구체적인 생활세계를 재현하고 그 안에 존재하는 여주인공의 내면(감정)을 양각한다. 3장에서는 두 작품의 본질적 공통점인 감정의 문제를 통해 그 주제의식(인간과 섭리의 관계)이 두 작품 내에서 상이하게 구현되고 있음을 논의하였다. 3.1.절에서는 「벌레이야기」의 주요인물이 갖는 감정이 궁극적으로 주체지향적임을 논하였다. 주요인물인 아내는 자아와 신을 양자택일의 관계에 두고, 결국 섭리(신)를 저버리지 않기 위해 자아(인간)를 소멸시키는 방법을 택하는바, 본고는 이를 통해 인간과 섭리 간 거리를 읽고 있다. 3.2.절에서는 <밀양>에서 인물(이신애)의 감정이 대상지향적임을 논의하였다. 영화의 촬영기법, 미장센 등에 대한 분석을 통해 이를 밝혔으며, 그 과정에서 <밀양>이 인간과 섭리 간 관계가 긴밀하면서도 균열이 가기 쉬운 것임을 그 영상미학을 통해 보여주고 있음을 논의하였다. 본고는 이상의 논의를 통해, 장르가 다른 두 작품을 대등한 지평에서 비교하였으며, 그 결과 두 작품이 각기 소설로서 그리고 영화로서 가지고 있는 독자성을 밝혀볼 수 있었다.

밀양에 내재된 이창동의 아이러니

정가은,정봉석 전북대학교 인문학연구소 2023 건지인문학 Vol.- No.37

The film <Secret Sunshine> directed by Lee Chang-dong portrays a contemporary woman who experiences a metaphysical conflict between di- vine salvation and human forgiveness while undergoing an extreme tragic event on the surface. However, at a deeper level, the film also shows the alienated aspect of a person accumulated with ignorance and falsehood. This paper examines the director's genre attitude in the film, focusing on the fact that the protagonist, Shin-ae, is a character who builds a fantasy inflated by vanity. Shin-ae, like Oedipus' tragedy, acknowledges her ha- martia of hubris and has a self-centered aspect of Alazon, a comedic protagonist. However, no discovery that anagnorisis tragic or comic re- versal is made, and there is no tragic catharsis or comedic correction as a result. This is because Shin-ae ultimately fails to discover her own hamartia. This means that the genre of <Secret Sunshine> does not rise like a tragedy or fall like a comedy. Through this analysis, this paper re- veals that Lee Chang-dong's genre stance is located in the position of irony, which is neither a tragedy nor a comedy. The director's camera ulti- mately captures Shin-ae, who is still lingering in her own fantasy without progressing towards an ethical subject beyond the phantasy. It is only up to the audience to discover it. 이창동의 <밀양>은 표면적으로 극단적인 비극적 사건을 겪은 동시대의 한 여성이 신의 구원과 인간의 용서 사이에서 존재론적 갈등을 경험하는 영화로 보인다. 하지만 그 심층에는 무지와 허위에 쌓인 한 인간의 소외된 모습을 여실히 보여주는 필름이기도 하다. 본 논문은 주인공 신애가허영으로 부풀려진 환상을 구축하는 인물이라는 점에 주목하면서 감독이취하고 있는 영화의 장르적 태도를 고찰해보았다. <밀양>의 신애는 오이디푸스의 비극처럼 오만이라는 결함을 노정하는 동시에, 희극의 주인공처럼 자기기만적인 알라존의 면모를 갖는다. 그러나 비극적 전환이나 희극적 역전을 동반하는 어떠한 발견도 인지도 이루어지지 않으며, 그에 따른비극적 정화 효과나 희극적 교정의 결과 또한 발생하지 않는다. 왜냐하면신애는 끝내 자신의 결함을 발견하지 못하기 때문이다. 이는 <밀양>의 장르가 비극처럼 상승하지도 희극처럼 하강하지도 않음을 의미한다. 이러한분석 끝에 본고는 이창동 감독의 장르적 입장이 비극도 희극도 아닌 아이러니의 위치에 서 있음을 밝혀보았다. 감독의 카메라는 궁극적으로, 환상을 가로질러 윤리적 주체로 나아가지 못한 채, 여전히 자신의 환상 속에머무르고 있는 신애를 비춘다. 그것을 발견하는 것은 오로지 관객들의 몫이다

“Secret Sunshine” and Spectatorial Responsibility for Shin-ae’s Resurrection in Milyang

김미정 문학과영상학회 2014 문학과영상 Vol.15 No.1

Even though Lee Chang-dong’s fourth film, Milyang (Secret Sunshine) was adapted from Lee Chung-joon’s Bulre Yiyagi (A Bug’s Story), the film shows quite different messages. Rather than the aporia or hypocrisy of forgiveness found in the novel, indeed, the film focuses on the wounds, salvation, and the meaning of life. In this regard, as Milyang portrays the heroine (Shin-ae)’s successive failures in fantasy-construction of her self-identity, this paper explores how the director Lee transfigures her drastic destitution into a new beginning, a new possibility of true self-identification concerned with ethical awakening, and how the film represents Milyang, an ordinary medium-size city far from Seoul, as a metaphor with intense thematic suggestion. Lastly, examining the mise-en-abyme structure at the end of the film, along with the open ending, this paper delves into how the director Lee involves spectators in the ethical obligations, particularly with regard to the ethical responsiveness and response-ability toward the other, re-questioning the spectatorial ethics itself in looking at in such visualized terrain.

영화 《밀양》이 제기하는 인간학적 성찰 -악의 현실과 구원의 방향성을 중심으로-

민순의 ( Sun Euy Min ) 서울대학교 종교문제연구소 2007 종교와 문화 Vol.0 No.13

논문 : 한국 영화에 나타난 기독교의 의미 양상 연구 -영화 <친절한 금자씨>와 <밀양>을 중심으로

조미영 ( Mi Young Cho ) 한국문학과종교학회 2011 문학과종교 Vol.16 No.2

The purpose of this paper is to identify what the role of religion is in Korean movies. In the movie, religion forms the personality of a protagonist and causes characters to suffer inner conflicts. Especially, religious values provide the basis for distinction of good and evil to characters. Those measures also induce people in the movie to make the right choice through the process of recognition of guilty conscience and repentance. This research tries to examine the role of religion in a different perspective from the one mentioned above. Religion does not work only as the criteria to distinguish the good and evil. It functions as the rite of passage to some groups. The process of recognizing guilty conscience and repentance from religion is indispensable when leading a soul to the path of salvation. Redemption is only for some chosen people. The word of being chosen means that those people are privileged ones, and this could be achieved by being included to a new community. In this respect, religion could be considered as culture that members of a certain community relish. To be a member of the community, newcomers should get through the ceremony called religion. By the help of religion, newcomers are placed in the new, different status. I would like to prove my opinion through comparing two movies. The first movie is Sympathy for Lady Vengeance, which seems to have nothing to do with religion, and the other one is Secret Sunshine, which has a lot of religious features in the film. Both movies had the religious measure called Christianity. When comparing two movies, I would look over the role of Christianity portrayed in the characterization process of main character from each movie. In both movies, Christianity does not only provide people the beliefs about afterlife and the comfort to their heart. It also works as the rite to be a member of the community. In this view, the process of recognition of guilty conscience and repentance through religion should be considered as a part of the process required for entrance. This research shows why the entrance process of Christianity from Korean movies has negative meanings and how it is related with the characteristics of Christianity.

사실주의 영화에서의 클로즈업의 특성

손보욱(Son Bo Wook) 동국대학교 영상미디어센터 2012 씨네포럼 Vol.0 No.14

영화는 쇼트들의 집합체라고 할 수 있으며, 쇼트가 어떻게 결합하느냐에 따라 영상의 의미가 달라질 수 있다. 물론 쇼트 안에 포함될 수 있는 요소는 너무도 많다. 어떤 대상물을 담아내는가부터 어떤 크기, 어떤 앵글, 그리고 어떤 움직임과 화면 구도를 이용하여 대상을 보여주느냐에 따라 쇼트가 전달되는 의미는 크게 달라질 수 있다. 이 연구는 쇼트를 구성하는 여러 가지 요소들 가운데서 화면의 크기, 그리고 화면의 크기 가운데서도 클로즈업에 대해 살펴보고자 한다. 우선 클로즈업이 영화사의 흐름과 함께 어떻게 변천되고 활용됐는가를 살펴볼 것이다. 그리고 클로즈업은 어떤 특징을 가지고 있으며 영화 속에서 어떤 기능을 하는지도 살펴볼 것이다. 그리고 쇼트들 사이에서 독특한 역할을 수행하는 클로즈업이 사실주의적 영화 안에서는 어떻게 사용될 수 있는지 두 편의 영화를 통해 분석해볼 것이다. 많은 감독이 자신의 생각이나 정서를 관객에게 효과적으로 전달하기 위해 클로즈업을 활용하고 있다. 하지만 사실주의적 영화에서 클로즈업을 잘못 사용하면 인물이나 사물에 대한 정서를 증폭시키고, 지나치게 감독이 개입한다는 느낌이 들게 된다. 그리하여 사실적인 정서를 감쇄시킬 수도 있다. 하지만 사실주의적인 영화라고 해서 클로즈업을 사용하지 않을 수는 없다. 클로즈업은 가장 영화적인 영상언어라고도 할 수 있기 때문이다. 이창동 감독의 〈밀양〉과 홍상수 감독의 〈북촌 방향〉은 독특한 방식으로 클로즈업이 구사된 작품이다. 절제된 클로즈업의 사용을 통하여 사실주의적 정서를 해치지 않으면서 감독의 의도를 효과적으로 전달해내고 있다. 클로즈업의 특성과 그것이 영화에서 어떻게 활용되었는가를 살펴보는 것은 영화의 사조나 형식을 뛰어넘어 영화를 만들고, 이해하는 데 반드시 필요하다고 생각한다. A film can be considered as an aggregate of shots which varies the meaning of a film by the ways how they are connected with each other. A shot, of course, includes so many factors. The meanings delivered by shots may varies largely depending on from what objects they hold to what size, angles, movements and layouts in picture are being used. It is the Close-Up that this study aims to look into, a size in picture, one of factors conforming a shot. Close-Ups were examined in their changes and applications along with film history; what characteristics they have and what functions they do in the movies; how they would be used in the Realism Films performing specific roles between shots, through the analysis of two films. Many movie directors are using Close-Ups technique aiming to deliver their ideas and emotions to the audience more effectively. However, an inappropriate use of Close-Ups in a Realism Film could awaken feelings that the director is amplifying audience’s emotion for the characters or things excessively intervening in the film, As a result, realistic emotion could be diminished. But this doesn’t mean the need of exclusion of Close-Ups from Realism Films. Because the Close-ups could be said the most cinematic picture languages. 〈Secret Sunshine〉 by Lee, Chang-Dong and 〈The day he arrives〉 by Hong, Sang-Su are the works with Close-Ups techniques in very particular ways. These directors deliver their intentions very effectively through understated Close-Ups without harming realistic emotions. This researcher feels that looking into the characteristics of Close-Ups and how they have been used in the movies are absolutely necessary to make movies exceeding their trends and formats and understand them.

소설「벌레 이야기」와 영화 <밀양>의 모티프 변환 연구 : 작가의식과 메시지를 중심으로

허만욱 ( Man Ook Hur ) 한국현대문예비평학회 2008 한국문예비평연구 Vol.- No.26

이창동 영화의 문화적 의미- 『오아시스』와 롤랑 바르트의 신화론, 『밀양』과 자크 데리다의 『죽음의 선물』

이만식 한국비교문학회 2008 比較文學 Vol.0 No.44

The cultural significance of Lee Chang Dong's films, such as Oasis and Secret Sunshine, is officially recognized in world-class film festivals. The favorable appreciation of Lee Chang Dong's films by western culture is studied here in this paper especially in terms of the postmodern culture of Roland Barthes and Jacques Derrida in order to suggest one of the potential directions for other Korean film directors as well as for Lee Chang Dong himself. Oasis can be meaningfully interpreted in relation with Roland Barthes' Mythologies, especially with the story of Gaston Dominici in “Dominici, ou le triomphe de la Littérature.” Dominici was 77-year-old farmer wrongly charged for the murder of Sir Jack Drumond's three family members mainly due to the lack of capacity to deal with the legal system, which is based upon the universal psychology developed within the cultural signification system of bourgeois society. Jong Du is a Dominici in Oasis presented by Lee Chang Dong. He is charged for the rape of Gong Ju in spite of their mutual consent mainly due to the lack of capacity to answer back the critical questions posed by the legal system. Gong Ju is in a little different position even though she is regarded and treated usually as another Dominici because she is paralyzed. Gong Ju reveals that she understands the cultural signification system of bourgeois society, when she says during the first serious conversation with Jong Do that she envies the working man. Lee Chang Dong suggests a way to counter-attack the cultural signification system of bourgeois society in this film entitled as Oasis, a representative 이만식 / 이창동 영화의 문화적 의미 111 image of the utopian dream of bourgeois society. He implies in the love story of Jong Du, idiot, and Gong Ju, cripple, that Oasis can be realized here in this bourgeois society even by the Dominicies. Secret Sunshine is a sensational film especially for Korean Christian society because of its inherent doubt about the validity of modern Christian faith. This film can be significantly related with Jacques Derrida's The Gift of Death which has the secret intention to implode the fundamental basis of Christianity raising serious doubt about the modern Christian creed of absolute submission to God's will regardless of concerned human condition. Jong Chan became Christian with the latent desire to develop a relationship with Shin Ae. He represents a typical Christian in modern Korea. Shin Ae became Christian soon after her son was kidnapped and brutally murdered. She cannot be satisfied with usual Christian life style because she is really desperate to find out the excuses for her lonely existence resulted from the deprivation of her son, her only hope of life. Later she tries to forgive the convict, who declares surprisingly that he is already forgiven and saved by God. The killer of her son convinces that he is saved by God without prior consent of the victim, whereas Shin Ae is still asking for the peace of mind in Christianity. She is forced now to search for the real significance of Christian faith, i.e., the postmodern Christian faith not to exclude human concern even in the process of absolute submission to God's will. There is no possibility in the human side to find out the final resolution of this religious problem. The director of this film suggests in the final scene of location in Mil Yang, whose meaning of its Chinese letters is Secret Sunshine, under the secret sunshine that it is only probable now to end only with the process of compromise between Jong Chan's modern Christian faith and Shin Ae's postmodern Christian faith. I think this is the Christian interpretation, suggested in Secret Sunshine by Lee Chang Dong and acknowledged by Cannes Film Festival, of Derrida's political positions, democracy which is the place of negotiation or compromise between the present forms of democracy and ‘democracy to ... The cultural significance of Lee Chang Dong's films, such as Oasis and Secret Sunshine, is officially recognized in world-class film festivals. The favorable appreciation of Lee Chang Dong's films by western culture is studied here in this paper especially in terms of the postmodern culture of Roland Barthes and Jacques Derrida in order to suggest one of the potential directions for other Korean film directors as well as for Lee Chang Dong himself. Oasis can be meaningfully interpreted in relation with Roland Barthes' Mythologies, especially with the story of Gaston Dominici in “Dominici, ou le triomphe de la Littérature.” Dominici was 77-year-old farmer wrongly charged for the murder of Sir Jack Drumond's three family members mainly due to the lack of capacity to deal with the legal system, which is based upon the universal psychology developed within the cultural signification system of bourgeois society. Jong Du is a Dominici in Oasis presented by Lee Chang Dong. He is charged for the rape of Gong Ju in spite of their mutual consent mainly due to the lack of capacity to answer back the critical questions posed by the legal system. Gong Ju is in a little different position even though she is regarded and treated usually as another Dominici because she is paralyzed. Gong Ju reveals that she understands the cultural signification system of bourgeois society, when she says during the first serious conversation with Jong Do that she envies the working man. Lee Chang Dong suggests a way to counter-attack the cultural signification system of bourgeois society in this film entitled as Oasis, a representative 이만식 / 이창동 영화의 문화적 의미 111 image of the utopian dream of bourgeois society. He implies in the love story of Jong Du, idiot, and Gong Ju, cripple, that Oasis can be realized here in this bourgeois society even by the Dominicies. Secret Sunshine is a sensational film especially for Korean Christian society because of its inherent doubt about the validity of modern Christian faith. This film can be significantly related with Jacques Derrida's The Gift of Death which has the secret intention to implode the fundamental basis of Christianity raising serious doubt about the modern Christian creed of absolute submission to God's will regardless of concerned human condition. Jong Chan became Christian with the latent desire to develop a relationship with Shin Ae. He represents a typical Christian in modern Korea. Shin Ae became Christian soon after her son was kidnapped and brutally murdered. She cannot be satisfied with usual Christian life style because she is really desperate to find out the excuses for her lonely existence resulted from the deprivation of her son, her only hope of life. Later she tries to forgive the convict, who declares surprisingly that he is already forgiven and saved by God. The killer of her son convinces that he is saved by God without prior consent of the victim, whereas Shin Ae is still asking for the peace of mind in Christianity. She is forced now to search for the real significance of Christian faith, i.e., the postmodern Christian faith not to exclude human concern even in the process of absolute submission to God's will. There is no possibility in the human side to find out the final resolution of this religious problem. The director of this film suggests in the final scene of location in Mil Yang, whose meaning of its Chinese letters is Secret Sunshine, under the secret sunshine that it is only probable now to end only with the process of compromise between Jong Chan's modern Christian faith and Shin Ae's postmodern Christian faith. I think this is the Christian interpretation, suggested in Secret Sunshine by Lee Chang Dong and acknowledged by Cannes Film Festival, of Derrida's political positions, democracy which is the place of negotiation or compromise between the present forms of democracy and ‘democracy to come.’

소설의 영화화에 따른 서사성 변환 연구 : 「벌레 이야기」와 「밀양」을 중심으로

신익호(Shin Ik ho) 한국언어문학회 2015 한국언어문학 Vol.93 No.-

In Bug Story and Secret Sunshine, the main character Shin-ae's anguish and religious conflict are described in more detail than the incident which causes her child's miserable sacrifice. Seemingly, Shin-ae tries hard to overcome her despair with christian faith, but she strives to cope with her tragedy within the limitations of human ability. She is not sure of salvation through the christian faith. Conversely, she is obsessed with the idea that she can get over difficulties with her efforts and will, that is to say, through self-deification. She loses her lovely son, but does not give up on her life. Rather, she can support herself, having strong will and hope. Eventually, these efforts lead to the fictional religion. Others who have never experienced her religious conflict, have no right to criticize that she has developed a blessing-oriented faith. Shin-ae's failure of salvation is a result of the religious dogma. Also, it expresses that she is locked in struggle with her will and fictional faith due to the limitation of human ability rather than she apologizes people around her with agape. She has never experienced both self denial as a sinner and a sense of gratitude and repentance which are the essence of christian faith. For this reason, she is not a born again christian, but just a bug. This story not only educates the reader that false religious faith is serious, but also shows univeral sympathy that religious salvation can not solve easily the problems of the human condition. The original novel, Bug Story, and the movie, Secret Sunshine, have differences in characters, surrounding environment, method of narration, structure derived from different genres, thematic consciousness and ending plot, even though they have common factors such as the existential situation and theodicean problems. The first part of the movie describes how the main character's child is kidnapped and killed in the process of settlement in a remote town. This event is portrayed as the climax of agony and anxiety. In the latter half of the film, the mother of the child writhes in desperate agony and faces the existential situation with religious conflict. At the end, a postive life is implied with secret and hopeful light. The main character, Shin-ae, plays the part of a long-suffering wife who acts out a series of deviant behaviors such as a suicide attempt, wrath and cursing in protest toward God after the failure of forgiveness. She is the most round character by means of motion picture techniques. Though she had a good relationship with others and received God's word once, she becomes a person who does not communicate well with others. When she does not find solutions and just feels despair, facing agony and protesting God, believers urge her to recognize the Providence of God and God's will. In this respect, the theodiciean interpretation justifying agony explains that hardship and adversity resulting from sin can be resolved through atonement. However, art questions and defies the Providence of God and deals intensively with the existential situation that superficial religion can not save people in agony.