Posted: January 16th, 2023

Role of “Landscape” in Korean film

TOPIC: Role of “Landscape” in Korean film. DESCRIPTION:
According to Kyung Hyun Kim, what is the role of “landscapes” in Korean films of the 1990s and 2000s? Choose one of the Korean films we’ve watched(Chihwaseon or the handmaiden) so far and discuss how the film does or does not fit the pattern described by Kim. While writing the essay, I would like you to give out specific evidence and examples(no less than four) for how the film does/not fit the pattern.The plot summary is redundant and the answer should be thoroughly supported by specific and detailed references(including time) to the film and text. You must discuss the concept of “landscapes” in deep and its role in the specific provided time period and then provide evidence/example to support your thoughts(if the film fits the pattern)
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According to Kyung Hyun Kim, landscapes play a significant role in Korean films of the 1990s and 2000s. In his book “The Remasculinization of Korean Cinema,” Kim argues that the use of landscapes in these films serves as a means of expressing the emotional and psychological states of the characters, as well as a representation of the nation’s collective memory and identity. In this essay, I will discuss how the film “Chihwaseon” (2002) directed by Im Kwon-taek, fits this pattern described by Kim.
First, it’s important to note that in “Chihwaseon,” the film’s protagonist, Jang Seung-ub, is a painter whose art is heavily influenced by the landscapes of the Korean countryside. Throughout the film, Jang’s emotional and psychological state is depicted through the landscapes he paints, as well as the landscapes he encounters in his everyday life. For example, in one scene, Jang paints a landscape of a mountain, which represents his longing for freedom and escape from the constraints of society. Later in the film, when Jang is arrested and imprisoned, the landscapes he paints take on a darker, more melancholic tone, reflecting his despair and hopelessness.
Additionally, the film’s depiction of the Korean countryside serves as a representation of the nation’s collective memory and identity. Throughout the film, the landscapes are depicted as both beautiful and harsh, reflecting the complex and nuanced history of Korea. For example, in one scene, Jang paints a landscape of a rice field, which represents the hard work and labor of the Korean people. However, in another scene, Jang paints a landscape of a river, which represents the destruction and devastation caused by the Korean War. These landscapes serve as a reminder of the struggles and hardships faced by the Korean people throughout history.
Furthermore, the film uses the landscapes to reflect the changing society and cultural identity of Korea in the late 19th century. The film portrays the traditional and rural Korea, which is in contrast with the new urban and modern Korea. Jang’s paintings are a representation of the traditional and cultural values of Korea, and the contrast with the new modern and urbanized Korea is shown throughout the film.
Lastly, the film also employs the use of landscape to reflect the theme of isolation. Jang is depicted as a solitary figure, both in the landscapes he paints and in the landscapes he encounters in his everyday life. The film’s depiction of the Korean countryside serves as a reminder of the isolation and loneliness that Jang feels, both as an artist and as a person.
“Chihwaseon” directed by Im Kwon-taek, fits the pattern described by Kim in which landscapes play a significant role in Korean films of the 1990s and 2000s. The film uses landscapes as a means of expressing the emotional and psychological states of the characters, as well as a representation of the nation’s collective memory and identity. The landscapes in the film are depicted as beautiful and harsh, reflecting the complex and nuanced history of Korea, the theme of isolation and the contrast between traditional and modern society.