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University of Kyoto

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2010

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Susan J. ©
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3 Iron Analyse: Kim Ki Duks Meisterwerk zwischen Traum und Realität!


"It's hard to tell that the world we live in is either a reality or a dream." This is the phrase with which キム・ギドク's movie 「うつせみ」ends. It is a sentence that perfectly describes the movie, because the reality and fantasy are intertwined in it.

The impossible becomes possible by the end of the movie. The main character Tae-suk becomes some kind of ghost like creature that can move completely unnoticed, because the human eye is able to perceive only within angle of 180 degrees. He hides behind, in the remaining 180 degrees, which the human eye cannot see.

In reality this is completely impossible, but in the movie this becomes completely believable. The movie creates completely new, dreamlike reality.

There are many light-motives (repetitions) in the movie. In every home he breaks in, Tae-suk does a certain ritual- he always repairs something (plastic gun, scale, clock, radio etc.), he washes the house owner's laundry in the bathroom, then takes the picture of himself with some object (picture, poster or statue) from the house in the background.

This becomes very important for the story later on, because the woman starts copying his ritual and we can see through that how their relationship becomes closer. For instance, in the beginning she washes the owner's laundry, later on she joins him shyly when he is taking a picture of himself with an object from the house, because she also wants to be in the picture, at length she is the one who takes picture of them while he is posing with boxer gloves.

When he is in jail, she will be washing her own laundry by hand, even though she has a washing machine, because she misses him and wants to do the ritual to feel closer to him.

Also one of the light motives is music. After Tae-suk realizes the battered housewife Sun-hwa is in the house he broke in, he leaves, but later on he decides to return. He hears her crying and puts the music CD in the player with beautiful Arabic song.

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She can not see him, but she senses that he is behind her, so she moves backwards with her arms spread until she corners him to the wall. Then she turns around and they kiss. The music underlines the tenderness of the moment.

Another example of light motive in the movie is Sun-hwa's feet. She expresses her feelings with her feet. At first they seem lonely, afterwards her foot touch each other when he is cutting her hair as if they were enjoying, later on she touches his feet with her foot when she wants to show him that she is in love with him.

The very last shot of the movie are Tae-suk's and Sun-hwa's feet standing on a scale. It is the same scale that Tae-suk repaired when he broke into Sun-hwa's house and that she also repaired because she was missing him when he was in jail.

Standing together on the scale, they weight 0 kg. They are weightless, like a feather. It symbolizes that their love surpasses heaviness of the real world and lifts them to the sky.

There was a strange cut in the movie. When Tae-suk opens the sliding door and the spectators see Sun-hwa for the first time, she is crouching on the right next to the door. In the next shot, she is also crouching, but on the left hand side of the door.

What I did not find convincing in the movie is related to the script. When Tae-suk and Sun-hwa are in the old dead man's house, I understand why they decided to stay at the beginning. They realized that the deceased's son is away on a trip, so they perform the funeral rites and burry him.

What I do not understand is why they decided to stay even after the son's phone call. It was logical that the son would become worried and try to look for his father after his phone call was answered but there was nothing except silence. For me, this seemed as director's clumsy solution for the main characters to be arrested.

Except for those small mistakes, I think this movie is very subtle and beautiful. It is one of the best movies I have ever seen.



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