ACTA KOR ANA VOL. 14, NO. 1, JUNE 2011: 73–116

ANALYSIS OF CHANGHWA HONGNYŎN (A TALE OF TWO SISTERS)—WITH A SPECIAL FOCUS ON THE NARRATIVE AND CHARACTERS

By SEO JEONGNAM

This study analyzes the story structure of director Kim Chiun’s film Changhwa Hongnyŏn (A Tale of Two Sisters), as well as the characters that arouse, lead, and complete the events that unfold in the story. While eight years have already passed since its release, this film continues to serve not only as the subject of many studies conducted by researchers involved in the field of film studies but also those engaged in the field of literary studies. To this end, this study begins by reviewing the opinion pieces written by film critics, pieces which caused much debate in fan magazines at the time of the film’s release, as well as the great majority of the previous studies that have focused on this film. Many individuals have conducted comparative studies about the direct and indirect relationship between the classic novel Changhwa Hongnyŏn chŏn and the film Changhwa Hongnyŏn. Such studies have focused on how the film adapted and transformed the classic novel, or how far the film deviated from the original work. However, these issues were not addressed in this study. This is because it is advanced herein that from the very beginning Kim’s decision to entitle his film Changhwa Hongnyŏn was based on a heavily calculated strategy that did not involve any intention to inherit or adapt (translate) any element of the original story in the film. The second issue which came to the forefront during the review of previous studies was the fact that the majority of researchers had a negative assessment of the film narrative’s degree of completion. In this regard, the present study conducted a thorough segmentation-based analysis of the text that saw the temporality and causal relationships found in the story be reorganized in a logical manner. The narrative structure of the film was also delved into in a detailed manner. Next, an analysis of the relationship between the characters and their personalities was undertaken. The dramatic relation- ship that exists between the characters was explained using the summary found in Figure 1. Thereafter, an analysis of the key characters, namely Sumi who serves as the film’s main character, and Muhyŏn (father), who serves as the cause of all the events that unfold therein, was carried out. An analogical examination of the elements which 74 Acta Koreana Vol. 14, No. 1, 2011

caused Sumi’s mental illness was also undertaken. Based on this process, the originality of Sumi’s complex ambivalence and how this ambivalence was expressed are clearly revealed. In the concluding section, the symbolism of the house as the background (space) for this film and its connectivity with the narrative was addressed. While the film does not suggest any alternative measures concerning the tragic situations that have been unlimitedly repeated inside of Sumi’s head, the present study does suggest that Sumi’s physical and mental departure from the house mark the first step towards overcoming her illness.

Key words: Korean film Changhwa Hongnyŏn (A Tale of Two Sisters), post traumatic stress disorder (PTSD), psychoanalysis, multiple personalities, ambivalence, Korean classic novel Changhwa Hongnyŏn chŏn, narrative structure, personage, character, horror film

1. INTRODUCTION

Directed by Kim Chiun, the Korean film, Changhwa Hongnyŏn (A Tale of Two Sisters) was released in the summer of 2003, or so-called peak season for horror movies. The film’s ability to draw in 3.5 million viewers helped create the image of new horizons for Korean horror movies. Many film critics and reviewers at the time wrote pieces about this work in fan magazines such as Cine 21. The general public also engaged in many online discussions and debates about this film. Thereafter, a significant number of researchers engaged in not only the cinema field, but also those of classic novels and literary studies produced works that were rooted in comparisons between the film and the original work. The perusal of these previous works proved to be a very interesting undertaking. The fact that the text of a film has produced so many discourses is worthy of an in-depth evaluation in and of itself. The film, Changhwa Hongnyŏn is not directly related to the classic Korean novel Changhwa Hongnyŏn chŏn (Story of Changhwa Hongnyŏn) in terms of such aspects as its subject matter, plot structure, and story.1 On the contrary, some people, such as Sim Yŏngsŏp have to some extent rightfully argued, “this film in reality exposes a proclivity for Hollywood fare such as The Sixth Sense, The Others, Psycho and Carrie. It also reflects an obvious penchant towards Japanese horror films such as Cure, Audition, and Ring, and also boasts jump cuts from series such as Yŏgo goedam (Memento Mori), as well as images associated with Sorum (Goosebumps).2

1 I will first begin by delving into this assertion in a more in-depth manner in order to establish the clear differences between these two. This constitutes a very important premise of this study. 2 Sim Yŏngsŏp, “Changhwa Hongnyŏn (A Tale of Two Sisters) is more focused on Sumi’s legs than her internal world (Sumi ŭi naemyŏn taesin tari e t΄amnik hanŭn Changhwa Hongnyŏn)”, Cine 21, Issue No.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 75

The film opens in a mental ward. Clad in hospital garb, Sumi comes in with a nurse as a doctor sits across from her. Although the doctor asks Sumi questions, she does not respond in any way or form. When the doctor shows Sumi a photo of her family and once again asks her about what happened on ‘that day’, Sumi turns her head and can be seen immersed in thought. This scene is reminiscent of the intro to the film Cure (1997) directed by Kiyoshi Kurosawa. By the mid-part of this film, viewers have already begun to suspect that, much as was the case in the The Sixth Sense (1999) and The Others (2001), one of the family members has ‘already’ died. This proves to be the biggest trick employed by the director in the film. As part of efforts to achieve a great dramatic reversal, the film tries to conceal who it is in fact that has died. Under such circumstances, the conflicts between the sisters Sumi and Suyŏn and their stepmother Ŭnju, and the explosion of their emotions stands out in stark contrast from the coldness (indifference) displayed by their father Muhyŏn. The latter part of the film features methods, such as scenes that make viewers wonder ‘Why?’ that were first used in Alfred Hitchcock’s Psycho (1960), the man widely credited with having set the standard for gothic horror films, and also appears in more recent fare such as Ring (1998) directed by Hideo Nakata and Audition (1999) directed by Takashi Miike. As such, the director Kim Chiun employed horror film formats, contents and genres that he was cognizant of to construct the narrative of Changhwa Hongnyŏn. The story is set in an isolated house near a lake that boasts a strange mixture of Western-style furniture located in a Japanese-style wooden house. Based on this background, the argument can be made that Kim Chiun used the classic Korean novel, Changhwa Hongnyŏn chŏn (Story of Changhwa Hongnyŏn) in a multi-layered, complex, and strategic manner. In addition to the narrative that guides the story which makes up the film, the director also makes commercial use of well-known descriptions at the marketing level. Given the very nature of commercial films, which involve the input of exorbitant amounts of human and physical resources so as to make a splash at the box office, this two-pronged strategy proves to be a very efficient one. The classic novel Changhwa Hongnyŏn chŏn (Story of Changhwa Hongnyŏn)3

409, July 7, 2003. 3 The novel, Changhwa Hongnyŏn chŏn (Story of Changhwa Hongnyŏn) is classified as a so-called ‘Arang’ type of classic novel, a category that also includes such works as Kim Inhyang chŏn (Story of Kim Inhyang) and Sukyŏng Nangja chŏn (Story of Sukyŏng). The story of Arang revolves around a girl who dies after an attempt is unsuccessfully made to rape her. Thereafter, she becomes a ghost who routinely appears before the local governor to implore him to avenge her. Paek Munim, “Study of Korean Horror Films—With a special focus on the narratives of female ghosts (Han’guk kongp’o yŏnghwa yŏn΄gu—yŏgwi ŭi sŏsa kiban ŭl chungsim ŭro)”, Ph.D. dissertation, Yonsei

76 Acta Koreana Vol. 14, No. 1, 2011 had already been adapted for the big screen on five occasions prior to the release of Kim Chiun’s film. While the first such endeavor was the silent film, Changhwa Hongnyŏn chŏn (Story of Changhwa Hongnyŏn) directed by Kim Yŏnghwan in 1924, Hong Kaemyŏng produced a sound version of Changhwa Hongnyŏn chŏn (Story of Changhwa Hongnyŏn) in 1936. In 1956, Chŏng Ch’anghwa produced his own version of Changhwa Hongnyŏn chŏn (Story of Changhwa Hongnyŏn), an undertaking which proved to be successful at the box office. In 1962, Chŏng Ch΄anghwa remade this film as Tae Changhwa Hongnyŏn chŏn. Another version of Changhwa Hongnyŏn chŏn was then produced in 1972, this time by the director Yi Yusŏp. Unfortunately, all that remains of these films today are some scenarios. It has been estimated that the earlier versions of this film were relatively true to the original novel. However, the latter versions, which were rendered as horror films, focused on the revenge aspect of Changhwa and Hongnyŏn’s story, whose rancor and grudges were deeply rooted, and were presented in a format in which much attention was placed on the role of audiovisual effects. Briefly put, Kim Chiun’s Changhwa Hongnyŏn can be said to have merely borrowed the brand name and values of the classic novel and previous films in order to facilitate success at the box office. Who could think of a better title than this familiar one to garner viewer interest in a tale of horror within a family in which rancor and eeriness come together?

2. REVIEW OF PREVIOUS WORKS AND ANALYSIS OF ISSUES

2-1) The relationship between the film Changhwa Hongnyŏn and the classic novel Changhwa Hongnyŏn chŏn

Let us begin by analyzing some of the basic premises associated with the film, Changhwa Hongnyŏn and introduce the key points thereof. Above all, a clear line should be drawn between this film and the original classic novel, Changhwa Hongnyŏn chŏn. Kim Chiun did not use the classic novel as the text for his film, nor did he create a new interpretation of the contents of this classic novel in order to create his own story. Although the film includes more complex scenes than those found in the original book, such as the death of the mother, appearance of the stepmother, and the conflicts between the two sisters, all of which is set against a modern background, one cannot say that this was the deliberate intention of those that made this film. The criticism made by several reviewers at the time of the release of this film that there existed an obvious gap between the original

University, 2002.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 77 version of the classic novel and this film has become a staple of many studies on this particular work. In addition, as I will argue below, most researchers in the field of literature, who have approached the work from a self-centered standpoint, have classified this film as a different version (adaptation) of the classic novel. To this end, the existence of a clear line between these works constitutes an important premise of this study. An attempt is made herein to examine in a chronological manner, beginning right after the release of Changhwa Hongnyŏn, passages from pieces written by critics that highlight the relationship between this film and the original classic novel. First, Yu Unsŏng regarded this film as having in effect abandoned the original nature of the classic novel. Yu asserted that contrary to the original novel, this film sought to highlight the sense of guilt that led to the appearance of the vengeful spirit; the fact that this sense of guilt was nothing more than an imaginary force created by a masochistic entity; and that the vengeful spirit was in essence an illusion that emanated from this imagination. While the sense of guilt is essentially the result of the imagination of a masochistic entity, the vengeful spirit is nothing but an illusion that emanates from this imagination. In other words, although the vengeful spirit does not dream of revenge, the sense of guilt ‘fervently’ summons the vengeful spirit… In conclusion, Kim Chiun’s third feature film Changhwa Hongnyŏn simply abandons the original nature of the classic novel in favor of an attempt to expose how the sense of guilt ‘fervently’ summons the vengeful spirit. Thus, rather than directly recreating the original novel, Kim Chiun’s Changhwa Hongnyŏn adopts a method that revolves around the sense of internal guilt found in more universal and classic narrations pertaining to vengeful spirits.4 Yi Hyoin viewed Changhwa Hongnyŏn as ‘a film that revolved around the emotions of jealousy and fear of the future possessed by an extremely sensitive girl named Sumi.’ Yi also went to great lengths to assert that as this film was in no way related to the original classic novel, everything, including the use of the title “Changhwa Hongnyŏn” should be regarded as a violation of the original work.

The two sisters, Sumi and Suyŏn, live with their father and stepmother in a villa located in an isolated place. The house is haunted by a spirit full of ominous energy that we are led to believe is in fact the soul of their dead mother. To this end, this film cannot be regarded as having any relation, with the notable exception of the placing of a dead animal on the bed, with

4 Yu Unsŏng, “The genre imagination of the director of Changhwa Hongnyŏn (Kamdok ŭi changrŭ chŏk sangsangnyŏk, Changhwa Hongnyŏn)”, Cine 21, Issue No. 406 (June 10, 2003).

78 Acta Koreana Vol. 14, No. 1, 2011

the classic novel Changhwa Hongnyŏn chŏn. It is nothing more than a violation thereof.5

However, Chŏng Sŏngil proved to be the most severe critic of this film in terms of any comparison between it and the original classic novel.

“A strange repatriation of Changhwa and Hongnyŏn,” “Only the trimmings of this horror film in any way resemble Changhwa · Hongnyŏn.” It is clear that Kim Chiun had not even completed the scenario by the time he started to shoot the film, all of which results in the film literally being all over the place on the proverbial map. Put differently, it is Kim Chiun and not Sumi that suffers from multiple personalities. The film begins to tell one story only to move towards another. There are some characters which just up and disappear in the middle of the film…. The most important motif of Changhwa Hongnyŏn chŏn is not the sisters themselves, but their return to satisfy their grudge even after their death. Put differently, the structure of the original work revolves around the sisters’ accumulation of rancor to the extent that they must inevitably return after their deaths. The sisters cannot be buried even after their deaths. The readers of Changhwa Hongnyŏn chŏn are unavoidably filled with tears upon seeing their unjust deaths and ardently await their return to exact their revenge.6

Chŏng Sŏngil’s piece leaves no doubt as to his belief that this film is a strange one. The reasons for this assessment are very clear. The expectations which the author had before seeing the movie can be found in the introductory section of this piece and until the part from which the quote above appears; to this end, it is evident that the author’s perusal of this film was skewed by his own transcendental experiences. As a result, Chŏng was looking forward to seeing how Kim Chiun would give a modern twist to the contents of the original classic novel. However, his expectations were dashed. This misinterpretation of the film, which is caused by the fact that Chŏng Sŏngil’s premises were based on the story found in the original classic novel, continues unabated. A counter-argument to this stance will be introduced in the latter part of this study. Of the various film critics which have assessed this work, ‘DJUNA’ can be

5 Yi Hyoin, “Changhwa Hongnyŏn is in no way related to the classic novel of the same name. It is nothing more than a violation thereof! (Changhwa Hongnyŏn chŏllae tonghwawanŭn amu sanggwan ŏmne! panch΄ikida)”, Cine 21, Issue No. 408, July 1, 2003. 6 Chŏng Sŏngil, “A strange and insecure anti-feminist film (Kiyi hago pulanhan pan feminist yŏnghwa)”, monthly magazine Mal, July 2003, p. 205.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 79 regarded as the one whose position concerning the relationship between the film and the original novel most closely mirrors the one advanced by the author of the present study. DJUNA clearly states his position by stressing that the role of the original novel in the film can be compared to the handkerchief which a magician shakes in order to deceive the audience.

One of the most important elements of the film, Changhwa Hongnyŏn is the fact that the film does not use the original classic novel as a text which should be newly interpreted. … What this film directly deals with is not the conflict between the family members, but rather the mind games of a woman who has suffered a serious psychological shock. This film assumes the dreadful tragedy and the events in the aftermath to constitute the core of the story. … In the film Changhwa Hongnyŏn, the original novel Changhwa Hongnyŏn chŏn can be likened to the handkerchief which a magician shakes in order to deceive the audience. The drama and action associated with the real themes unfold within a completely different sphere.7

However, Sim Yŏngsŏp bitterly criticized this film for not only having failed to provide the vividness of the various abundant virtues on display in the original classic novel, but also for having limited itself to the autistic fantasy of singling out one classic and conservative ideology, one that constitutes the most anachron- istic of the ideologies found in the original classic novel, and lumbering with it all the way through the film.

The richness of the original classic novel Changhwa Hongnyŏn chŏn’s text stems from the huge stains created by the fact that patriarchal society, that is to say Confucian society, could not cope with the sexual maturity and deviations associated with girls when they reach puberty. … The film, Changhwa Hongnyŏn constitutes nothing more than an autistic fantasy. After hinting at the possibility of incest and lesbian desire between the sisters, the film hurriedly opts for one of the most classic and conservative ideologies, one which it lumbers along with all the way to the last scene. … In the end, Changhwa Hongnyŏn has but one ideology, “let the women fight each other. Man has committed no sin.”8

7 DJUNA (film critic, SF novelist), “Changhwa Hongnyŏn is interesting but fails to fill the holes in the latter part of the film (Hŭngmiropchiman hubanbu ŭi pint’ŭm ŭl ch’aeuji mothan Changhwa, Hongnyŏn)”, Cine 21, Issue No. 408, July 1 2003. 8 Sim Yŏngsŏp, ibid.

80 Acta Koreana Vol. 14, No. 1, 2011

Cine 21 (Issue No. 408) also includes film critic Chŏng Sŭnghun’s piece in which he states, “Although it fails to overcome the physical science aspect of horror, Changhwa Hongnyŏn is a work one cannot avert one’s eyes from.” Thus, Chŏng left aside the relationship between the film and the original classic novel, and focused on analyzing the details of the film itself. Let us now look at the work carried out by academic researchers. Here, it is interesting to note that the methods used to express the authors’ opinions about the relationship between the text of the film and original classic novel are heavily dependent on their particular field of study. Let us begin by quoting Hwang Hyejin, who published two studies and a critique on the subject of the film Changhwa Hongnyŏn.

The film, Changhwa Hongnyŏn bares little similarity to the original classic novel of the same name except for the manner in which the story begins. However, in terms of intertextuality, one cannot ignore the fact that this film’s fear effects owe much to the original novel. The identification with the victim and the persuasive representation of her rancor help create the emotional environment in which the film is viewed and produce certain expectations vis-à-vis the film. The gaps or deviations from these ex- pectations are what helps guarantee the freshness that this film brings to this particular genre.9

The understanding evident in the above quotation is also clearly on display in Hwang Hyejin’s other piece (study). Hwang argues that the classic novel and the film share many similarities and differences, including the death from illness/suicide of the mother, and the murder/accidental death of Hongnyŏn (Suyŏn). Perhaps it is Hwang’s status as a film researcher that allows her to draw a simple line to demarcate the relationship between the film and original classic novel. On the contrary, the opinions of the researchers in the field of literature, some of which will be quoted below, are serious to the point of being a cause for concern. The most representative of these assertions are those of Yi Chŏngwŏn and Cho Hyŏnsŏl. Let us first take a look at Yi Chŏngwŏn’s study. Citing the reviews written by the likes of Yu Unsŏng, Yi Hyoin, Chŏng Sŭnghun and Sim Yŏnsŏp in the magazine Cine 21, as well as the opinion piece written by Chŏng

9 Hwang Hyejin, “A study of the family narrative exhibited in horror films—with a special focus on the memories in Changhwa Hongnyŏn and 4 inyong sikt΄ak (The Uninvited) (Kongp΄o yŏnghwa e nat’anan kajok sŏsa yŏn΄gu—Changhwa Hongnyŏn kwa 4 inyong sikt’ak e nat΄anan kiŏk ŭi munje rŭl chungsim ŭro)”, Yŏnghwa yŏn΄gu (Journal of Film Studies), Vol. 29, Film Studies Association of Korea, 2000, pp. 381–382.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 81

Sŏngil that appeared in the magazine Mal, Yi goes out of her way to criticize the argument found in such works to the effect that there exists no relation between the two texts.

The opinion that the film Changhwa Hongnyŏn is in no way related to the classic novel Changhwa Hongnyŏn chŏn is just flat out wrong. Such arguments should be regarded as the result of an image-oriented prejudice which emphasizes the independent achievements of this film as a horror film … If the classic novel Changhwa Hongnyŏn chŏn had never existed, then it would have been necessary for the director to include more detailed descriptions in the film of such elements as the true character of the stepmother Ŭnju, the psychological solidarity that exists between the two sisters Sumi and Suyŏn, and the indifference of the father Muhyŏn. However, even if such descriptions had been included, the acceptance thereof would nevertheless have been marked by a certain foreignness and void. There are in essence no other tools than this ‘cultural memory,’ namely that as Ŭnju is the stepmother Sumi and Suyŏn are therefore reminiscent of Changhwa and Hongnyŏn, to effectively and persuasively explain the causes of the conflicts in the film.10

Meanwhile, Cho Hyŏnsŏl’s study can be regarded as the final word in terms of the comparison of the two texts, and of the close relationship that exists between the film and classic novel. Viewing film as a sub-genre of novel literature, Cho asserted that the film Changhwa Hongnyŏn should in fact be approached as a different version of the original classic novel Changhwa Hongnyŏn chŏn. He listed three core elements which emphasize the organic relationship between the film and classic novel: 1) the title of the film made it evident that both works are somehow related to each other; 2) while the director’s excessive commercially- motivated adherence to the creation of a horror-based environment made him stray significantly from the existing narrative, the background to this film is that of the story of Changhwa and Hongnyŏn which viewers are already well-versed in; 3) the film continuously revolves around the theme of the internal conflicts of the family that lie at the center of the original classic novel.11

10 Yi Chŏngwŏn, “The memory and reality of women in the film, Changhwa Hongnyŏn and the actuality thereof—as viewed from the standpoint of the classic novel, Changhwa Hongnyŏng chŏn (Yŏnghwa Changhwa Hongnyŏn esŏ yŏsŏng taehan kiŏk kwa silje—kososŏl Changhwa Hongnyŏng chŏn yi pon yŏn’gu kwanjŏm esŏ)”, Han’guk kojŏn yŏsŏng munhak yŏn’gu (Journal of Korean classic woman’s literature), Vol. 15, pp. 74–75. 11 Cho Hyŏnsŏl, “The future tasks in the study of classic novels as viewed through the cinematographic adaptation of classic novels—With a special focus on the classic novel, Changhwa

82 Acta Koreana Vol. 14, No. 1, 2011

Such assertions appear to paint a self-seeking portrait. However, although paradoxical, this in fact represents the core of the strategy in terms of what use the director Kim Chiun sought to make of the original classic novel Changhwa Hongnyŏn chŏn. In fact, while Kim is said to have stated during interviews that his objective was to damage the memory of the classic novel Changhwa Hongnyŏn chŏn to the utmost of his ability, such statements should be seen as elements of his commercial strategy. From the outset, the film Changhwa Hongnyŏn does not take into account the contexts found in the classic novel. The film is not an adaptation of the classic novel, but rather the story of a girl named Sumi who single- handedly creates and performs the story of Changhwa Hongnyŏn chŏn. Kim Chiun abandons the structure of this classic story and its narrative completeness, as well as the story of Changhwa and Hongnyŏn which readers and audiences alike are already well-versed in, in favor of the telling of a story that revolves around different women in different situations. By entitling the film Changhwa Hongnyŏn, Kim Chiun was able to incorporate the above-mentioned elements in a very economical and simple manner. Viewed from this standpoint, Kim Chiun is a very smart storyteller. The ability to make those engaged in the literature field perceive it as a different version of the original classic novel and have them conduct comparative studies on the subject can only be regarded as an added premium as far as this film is concerned.

2-2) Disputes concerning the completeness of the story

When the film Changhwa Hongnyŏn was first released, viewers proved to be of two extremes in terms of their reactions. While some panned it as ‘an audiovisual attempt to catch the audience unaware that could not be saved by the narrative,” others praised it for having ‘created a new terror-laden yet beautiful frontier for Korean horror films.’ In this regard, the ambiguousness of the narrative proved to be the point which was most frequently singled out for attack by critics and researchers alike. In other words, they regarded the film as having been laden with problems from the scenario level onwards. As seen in the quotation above, Chŏng Sŏngil pointed out that the film’s story was all over the place on the proverbial map, and that some characters simply disappeared in the middle of the film. Chŏng conspicuously expressed the suspicion that Kim did not complete his scenario until the actual shooting began, and then goes on to state that it is not Sumi but Kim Chiun who suffers from multiple personalities. The element which

Hongnyŏn chŏn and the film, Changhwa Hongnyŏn (Kososŏl ŭi yŏnghwahwa chakŏp ŭl t’onghae pon kososŏl yŏn’gu ŭi kwaje—kososŏl Changhwa Hongnyŏn chŏn kwa yŏnghwa Changhwa Hongnyŏn)”, Journal of Classic Novel Studies (Kososŏl yŏn’gu), Vol. 17, The Old Novel Society of Korea, 2004, p. 61.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 83 however has raised the most debate is Muhyŏn’s belated disclosure of the truth about ‘Suyŏn’ and the development of the narrative thereafter. In this regard, Chŏng Sŏngil states that this painful game of hide-and-seek could in part be attributed to Kim Chiun’s objectives, but also to the inherently errant structure of the film in and of itself.12 For his part, the film critic Chŏng Sŭnghun argues that the film’s errant structure was the result of the fact that rather than an attempt to resolve the cause of the horror (death of Suyŏn) through an unexpected reversal of the situation, the film revolves around the development of a new puzzle game that is based on a distorted yet linear plot.13 This film’s scenario does have some serious flaws that need to be pointed out. These include temporality, cause and effect, and the logic of the narration and points of view. A look at the scenes which were cut during the editing process reveals that Kim continuously worried about and searched for solutions to some of these elements. However, the viewers can only watch the ‘completed’ work which unfolds on the screen after it has left the director’s hands. In other words, the viewers have no choice but to judge the film based on the ‘completed’ work. The attributes of the horror film genre make it possible for audiences to forgive the problems occasioned by the ambiguousness of the narrative, and lack or excessiveness of some details.14 Rather, the insecurity caused by such ambiguous narratives amongst audiences can be regarded as one of the biggest tools which directors have at their disposal when it comes to creating horror. Director Kim Chiun’s active use of this element is clearly exposed in the following passage from an opinion piece.

Sumi’s suspicions of her stepmother are laden with the hostility occasioned by the original sin which she believes the stepmother brought into their household when she joined the family, the sense of crisis created by the fact that the stepmother, who was employed as a caregiver for their sick mother, became intricately involved with the family as the mother’s illness deepened, and the irony that the curses which Sumi hurled towards the stepmother on that tragic day that she wants to forget come back to harm

12 Chŏng Sŏngil, ibid., p. 206. 13 Chŏng Sŭnghun, “Although it fails to overcome the physical science aspect of horror, Changhwa Hongnyŏn is a work one cannot avert one’s eyes from” (Kongp΄o ŭi hyŏngyihahak ŭl nŏmji mothaetchiman nun ŭl ttelsu ŏmnŭn yŏnghwa, Changhwa Hongnyŏn)”, Cine 21, Issue No. 408, July 1, 2003. 14 The horror film genre is not one which promotes moderation. What criticism can be leveled as long as excessiveness plays its rightful role in such works? DJUNA (film critic, SF novelist), “The challenge posed in 2003 by Korean horror films to ‘art’—A semi-success or simply a process of trial and error? (2003 Han΄guk horror ŭi ‘yesul’ tojŏn—chŏlban ŭi sŏnggong hokŭn sihaeng ch’akoe taehayŏ)”, Cine 21, Issue No. 417, August 29, 2003.

84 Acta Koreana Vol. 14, No. 1, 2011

Sumi herself. All of these are combined in the film to create a complex psychological state in which Sumi finds herself incapable of accepting the sense of guilt occasioned by the fact that this tragedy may have occurred because of her, and having to create an alter-ego on whom she can pass on her guilt.15

The above statement shows where the director obtained the behavioral patterns that constitute the core of Sumi’s character, and how he made up the story for the film. In fact, in his role as storyteller in the horror genre, the director does not need to know about the actual truth of all the events and incidents that unfold in the story. Even if he knows all the details of the story, the filmmaker does not have to show them all, or include explanations within the story structure. The main objective for the director (storyteller) is that of finding ways to use the elements that he is cognizant of, or possesses, to control the audience. The narrative (or drama) of this film is clearly very unique and strange. As Sim Yŏngsŏp harshly points out, in a manner akin to Chŏng Sŏngil, this film can be regarded as a violation, genre deviation, and attempt to catch the audience unaware.16 However, in my opinion, that is not the case. At the core of the film’s narrative is the story of a girl named Sumi who single-handedly produces and brings to life the story of Changhwa Hongnyŏn chŏn. In this regard, almost all the elements presented in this film do not really exist in actuality, but rather constitute illusions that are continuously symbolized by, and actualized through, Sumi’s dissociative multiple personality. The appearance of the ghost of her mother and even the very existence of Suyŏn and Ŭnju are creations that emanate from Sumi’s illusions. The core axis of the narrative created from these illusions revolves around the stepmother Ŭnju’s mistreatment of Suyŏn, the series of conflicts between Sumi and Ŭnju, the mother’s suicide, and Suyŏn’s subsequent death. Here it is important to note that although these series of incidents seem to flow in a chronological manner (in other words, toward one direction), they are in fact a continuous repetition of a repressed experience that occurred at a certain fixed point in time in the past (the mother’s suicide and Suyŏn’s accidental death). Through a reorganization of the story of this film and analysis of the

15 Kim Hyeri, “The horror of Changhwa Hongnyŏn: Kim Chiun Vs. Yun Chongch΄an (Changhwa Hongnyŏn ŭi kongp’o: Kim Chiun Vs Yun Chongch’an)”, Cine 21, Issue No. 407, June 17, 2003. 16 Stuck in a multi-layered story and fantastic maze, the film Changhwa Hongnyŏn repeatedly dashes and rushes this way and that. The spirit is endowed with a human nature and viewpoint; another dream exists beyond the dream; another spirit exists within the spirit; another illusion exists within the illusion. This is closer in nature to a genre deviation that is filled with violations and tricks than a genre reversal that goes beyond the otherness and ego. This is clearly an attempt to catch the audience unaware (Sim Yŏngsŏp, ibid.).

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 85 narrative structure, an attempt is made below to substantiate the logic of the issues raised by numerous people who have commented on this film. Although Kim Chiun released one film, disputants have exhibited polar opposite per- ceptions and degrees of acceptance of this work. In this regard, the claim advanced in the field of contemporary semiotics proposed by the likes of Umberto Eco and the cognitive film theory represented by David Bordwell to the effect that ‘the perfector of texts is not the writer but the acceptor’ can be regarded as being particularly applicable. While an in-depth comparison is not possible in the space provided herein, 17 the differences in terms of how individual viewers perceive the film can nevertheless be ascertained by looking at their synopses of the film. To this end, this study will reorganize the film’s story and break the text down into individual segments for analysis.

3. REORGANIZATION OF THE SYNOPSIS AND ANALYSIS OF THE NARRATIVE STRUCTURE

3-1) Reorganization of the synopsis

The story that unfolds in this film can be reorganized in the following chrono- logical manner. A Japanese-style wooden house stands near a lake in the countryside. This house was originally inhabited by a family which consisted of a father (Muhyŏn), mother, and two sisters named Sumi and Suyŏn. However, when the illness of the mother takes a turn for the worse, the father, a pharmacist in a large-scale hospital, brings Ŭnju, a nurse who works at the same hospital, to their home to care for their mother (pictures). During this process, the father and Ŭnju begin to have an affair. Soon, Ŭnju starts to behave like she is the lady of the household, even going as far as to invite her brother and his wife to visit her. Sumi and Suyŏn are consumed by a strong sense of hostility toward Ŭnju. On the day when Ŭnju invites her brother and his wife over for dinner, Sumi begins to quarrel with Ŭnju during dinner and leaves in a huff. Ŭnju responds by taking away Suyŏn’s spoon. Suyŏn goes up to her room and cries herself to sleep while lying next to her mother. The mother subsequently commits suicide by strangulation in Suyŏn’s wardrobe, only to be discovered by the latter. Suyŏn screeches as she shakes her

17 Clear differences can be seen when comparing the synopses prepared by Yi Chŏngwŏn and Hwang Hyejin. Yi Chŏngwŏn’s analysis of the film Changhwa Hongnyŏn is based on three premises, the first being that “the story unfolds in a cyclical manner” (Yi Chŏngwŏn, ibid., p. 77). This can be taken to mean that the events presented in the film do not run contrary to the temporal order. Although Yi tries to introduce proof to support this assertion, its validity remains hard to sustain.

86 Acta Koreana Vol. 14, No. 1, 2011 mother’s body in an attempt to revive her; when the wardrobe falls as a result of her shaking she finds herself pinned down under it. Upon hearing Suyŏn’s screeching, Ŭnju goes out to help, only to be verbally assailed by Sumi, all of which results in delaying her ability to get to Suyŏn to help her. Sumi darts out, but not before making snide remarks at Ŭnju who watches her with disdain as she exits. Unfortunately, Suyŏn dies as this exchange unfolds. After a prolonged period of institutionalization in a mental facility, Sumi returns to the house to live with her father. However, Sumi, who by now believes she is also Ŭnju, is under the illusion that Suyŏn, who has already died, is alive and living with her. Sumi’s internal turmoil has only increased since her return home. (The film opens with Muhyŏn arriving at the house along with Sumi and Suyŏn [in fact, there is only Sumi]. The two sisters run to the lake and enjoy their day splashing in the water. When they return home, their stepmother Ŭnju is there to welcome them. However, the sisters show great hostility toward Ŭnju. Strange things begin to occur in the house after the sisters come back. Someone sneaks into Suyŏn’s room. Sumi sees the spirit of her dead mother who died from strangulation. In the meantime, the conflict between the two sisters and Ŭnju becomes more acute to the point where Ŭnju places a large bag over Suyŏn’s head and begins to beat her. Upon returning from an outing, Sumi uncovers the bloodied bag in Suyŏn’s wardrobe and begins to fight with Ŭnju. Sumi loses consciousness after getting hit by Ŭnju with a bronze statue. However, it is revealed that all of these events in fact were caused by Sumi, who suffers from multiple personality disorder.) After Sumi injures herself (by hitting herself with a bronze statue), Muhyŏn asks Ŭnju for help. Sumi is sent back to the mental facility.

3-2) Analysis of the narrative structure

Changhwa Hongnyŏn is composed of a total of 150 scene segments, a number that includes autonomous segments (inserts etc.). The first scene (Scene 1) always constitutes the starting point for the first narrative. In this regard, Scene 1 and Scenes 114–117 are connected to each other through the first narrative. In other words, while surrounded by Scenes 2–113 (illusions created by Sumi’s dissociative multiple personality), these scenes boast a kind of frame structure. Scenes 118– 150 go back to the fateful moment that becomes the cause of all the situations presented in the film. Every situation from the moment Muhyŏn comes in the house along with the stepmother Ŭnju sporting a bright smile to the moments in which the mother’s death and Suyŏn’s accidental demise unfold is presented in a detailed manner. The film ends with the tragedy that pushed Sumi and Ŭnju into this nightmare. The narrative structure is based on a general conclusion method

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 87 often found in gothic-style horror films, namely a long-winded explanation of ‘why’ a certain chain of events has unfolded. Here, it is necessary to take a good look at the situations created by Sumi’s illusions (Scenes 2–113). First of all, Scenes 2–10 belong to the film’s introductory section. Sumi, Suyŏn, the father (Muhyŏn) and stepmother (Ŭnju) are introduced, and the foundation for the two sisters’ future tensions is established. The inside of the house is filled with an unseen horror. Soon the war of nerves between Ŭnju and the two sisters starts. The insert scene used to show a panoramic view of the house (night time) ends the introductory part and leads to a new situation. The situations found in Scenes 12 through 77 make up the middle part of the film. All the family members, except Muhyŏn, see spirits and Sumi and Suyŏn suffer from nightmares. The tension between the sisters and Ŭnju becomes deeper and deeper. Strange things begin to occur in the house. The relationship between Sumi and her father is shown to be a thorny one. One day, Ŭnju’s beloved birds are found dead, with one of them discovered on Suyŏn’s bed. The antagonism between the two sisters and stepmother reaches its peak. Becoming increasingly convinced that the strange occurrences that are taking place within the house are the work of Sumi and Suyŏn, Ŭnju bursts out into uncontrollable anger toward the two sisters and begins to suffer from neurosis. Sumi gets angry at Muhyŏn for allowing Ŭnju to persistently torture Suyŏn. Muhyŏn responds by stating that Suyŏn is already dead. A confused look comes across Suyŏn’s face as Sumi yells and screams to an extent that we are left to think that she suffers from an anxiety disorder. Convinced that Suyŏn has been with her all along, Sumi begins to show signs of mental confusion and schizophrenia. The insert scene which shows a panoramic view of the house (night time) in Scene 78 is used to signal the end of the middle part of the film, and also to indicate the advent of a new stage in terms of the development of the story. In Scene 79, Muhyŏn can be seen talking to someone on the phone and saying that Sumi’s symptoms have worsened. Scenes 80–102 constitute the conclusion of the illusions (schizophrenia) created by Sumi’s multiple personalities. Ŭnju ruthlessly torments Suyŏn. Having discovered a big sack from which blood oozes out as well as bloodstains on the floor in the hallway, Sumi automatically assumes that Ŭnju has killed Suyŏn. This leads to a fierce fight between Sumi and Ŭnju. When Muhyŏn returns to the house, Sumi suddenly awakes from her illusion. The emergence of the first dramatic reversal in the form of the revelation of Suyŏn’s death, and of the second dramatic reversal, the disclosure that Ŭnju is in fact Sumi’s alter-ego, has the effect of moving the audience’s attention away from the horror itself, and towards the origins of Sumi’s multiple personality disorder. In other words, the audience begins to focus on the original accident that caused

88 Acta Koreana Vol. 14, No. 1, 2011

Sumi’s trauma. However, the film’s plot encounters difficulties as far as the establishment of such narratives is concerned. As such, the heretofore linear plot becomes disjointed at this juncture, leaving the audience confused. Scenes 103–113 are used to inform the audience of the truth, namely that the previous situations were the result of Sumi’s mental illness and split personalities. We are made to understand that it is impossible for Sumi, who suffers from multiple personalities and has a schizophrenic outlook, to gain a grasp on reality. The confusion surrounding this film is depicted as the result of a segmented reality that is created by memories which are arbitrary, distractible, and capricious. In actuality, the memories of this extremely subjectified existence which destroys the organic relationship between the past and present, stands as proof positive of an internal pain that is motivated at once by a sense of guilt and defense mechanisms, desire and anger, and hatred and envy.18 These scenes make it possible for the audience to understand why Sumi is sent back to the mental facility (Scene 114–117). These hospital scenes can be regarded as a frame which is connected to Scene 1. In any case, we are made to understand that Sumi’s dissociative multiple personality disorder has not gotten any better. The previous situations imply that continuous rehashing of events is taking place in Sumi’s head. Weighed down by an immense sense of guilty, Sumi endlessly repeats these painful events within the space from which she cannot escape (her mind). In conclusion, all the events that unfold in the film are the result of the efforts made by Sumi, who has lost her mother and sister, to negotiate, fight, and ignore her sense of guilt occasioned by her hatred and envy of Ŭnju. As such, the film Changhwa Hongnyŏn can be regarded as featuring elements of theatre (masque performances) in terms of its story structure. As mentioned above, the narrative structure of Changhwa Hongnyŏn is too thinly spread, boasts too many ambiguous elements, and runs out of gas by exhibiting overly obliging and detailed glimpses during the latter part of the film (process of exposing the truth about the events that have unfolded). The majority of critics and researchers have taken exception with the fact that the film ends without alerting the viewers as to whether Sumi’s disease has gotten any better. The need for an emotional climax to the story that is absent from this film opens

18 To us humans, memories can be regarded as the basis which allows us to maintain and develop our identity as individuals. “Memories are the mental activity and process through which a person relates his past to the present. Memories define the already unfolded past on the one hand, and also change the temporal status of the past by bringing it to life in the present. While attached to each other like the two sides of a coin, memories and memory lapses can be regarded as mutually exclusive processes within man’s psyche. (Chŏn Chinsŏng, History Tells Memories (Yŏksa ka kiŏk ŭl malhada), Humanist Publishing, 2005, p. 44)

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 89 up the door for the criticism that “the film takes on the appearance of a doc- umentary on the case of a mentally-disturbed individual.”19

THE RELATIONSHIP BETWEEN THE MAIN CHARACTERS AND ANALYSIS OF THE CHARACTERS

4-1) Relationship chart of the characters

The following can be regarded as an analysis of the relationship between the film’s characters that is based on the breakdown of the text and analysis of the narrative carried out above. Let us first take a look at things from Sumi’s point of view. The mother’s prolonged period of medical treatment provides clues as to the causal relationship that exists between all the events and characters. Muhyŏn (father) brings Ŭnju to the house as a caregiver for the mother, a move that is rooted in the illicit relationship that exists between them before and after this event. Their open relationship causes the mother’s tragic suicide. In a state of shock, Suyŏn, who was the first to become aware of the death of her mother, begins to wail and convulse to the point where she finds herself crushed to death by the wardrobe in which her mother hung herself. Ŭnju 1 (real stepmother) is the first to come upstairs after hearing the sound of something falling. She sees Suyŏn being crushed by the wardrobe but makes no attempt to save her. Ŭnju then comes face to face with Sumi in the hallway after having exited the bedroom. Sumi runs outside after having quarreled with Ŭnju, thereby missing the chance to save Suyŏn. Ŭnju’s brother, Sŏn’gyun and his wife Mihŭi, who were in the house when this incident occurred, also experience a tinge of guilt over the death of Suyŏn. While seemingly cognizant of what is happening on the second floor (mother’s death), Muhyŏn does not display any immediate reaction. Meanwhile, the mother’s prolonged period of medical treatment produces the unwanted side effect that Sumi is unable to smoothly navigate through the Oedipus complex that inevitably appears during puberty. Having taken care of her father (ex. preparing her father’s underwear) and sister for her mother since her childhood, Sumi is automatically believed to suffer from an acute Electra complex. In this regard, young Sumi is continuously plagued by an internal struggle that sees her hopes for her mother’s recovery intersect with her desire for her mother to die. This is why her mother appears as a ghost to Sumi. It is Sumi’s sense of guilt that constantly evokes the ghost of her mother to appear before her.20 Then

19 DJUNA, ibid. (Cine 21, Issue No. 408) 20 The nature of the ghosts that appear in this film is completely different from that of the ghosts

90 Acta Koreana Vol. 14, No. 1, 2011 one day, the father brings Ŭnju home. Ŭnju pushes out their mother as she draws closer to the father, in the process breaking the heart of Sumi, who yearns for her father, to pieces. Then at the moment where the very existence of the mother has all but faded from the scene, Ŭnju comes to make her position next to the father official. Whereupon, the mother ended her life by committing suicide (thus creating an ending contrary to the one Sumi had envisioned in her head). On the other hand, Suyŏn is Sumi’s beloved sister. However, one day Suyŏn begins having her first menstrual cycle. Suddenly, this sister who she had regarded as a young child (sexually immature) emerges as a potential competitor. The matching of Suyŏn (and Sumi)’s menstrual cycle with that of Ŭnju is meant to denote that the number of fertile females (who can engage in sexual intercourse with Muhyŏn) has increased to three. Sumi kills Ŭnju’s pet birds and hides one of them in Suyŏn’s bed. The scene in which Ŭnju discovers the dead bird on Suyŏn’s bed (Sumi’s illusion) clearly exhibits how Sumi starts to regard Suyŏn. Therefore, the externalized version of Sumi’s illusions regarding the accidentally deceased Suyŏn (characterized by her desire to protect Suyŏn from Ŭnju), do not reflect the full gamut of emotions which she feels towards her sister. This highlights the fact that Sumi is internally plagued by a strong sense of ambivalence. Lastly, Muhyŏn’s links to Ŭnju, a nurse at the hospital where he works as a pharmacist, are forged at a point in time where he has begun to grow weary of the prolonged medical treatment which his wife has been under. Muhyŏn draws close to Ŭnju who has been assigned as his wife’s care giver and eventually brings her into the house and family. Sumi immediately exhibits hostility toward the sudden appearance of Ŭnju alongside her father. She also exposes a strong sense of hostility and resentment toward her father for his actions. However, as Sumi’s actions are superficial expressions of her desire for her father’s love, she soon develops an extreme case of ambivalence toward Ŭnju that is characterized by the notions of hatred and envy. The fact that Sumi’s head is constantly filled with a sense of guilt and desire causes here to repeatedly relive hellish experiences. As such, the driving force in the original classic novel. The ghosts in the original novel are motivated by a profound grudge. However, the ghosts in the film do not represent that kind of existence. The people who are afraid of the ghosts in the film, namely Ŭnju (stepmother), Sumi, and Sŏn’gyu’s wife are all women, women who are consumed by their own sense of guilt. Ŭnju’s sense of guilt stems from the fact that she was somehow related to the death of Suyŏn as well as the mother’s suicide. Sŏn’gyu’s wife was also with Ŭnju when the incident occurred. Sumi’s mental state is much more complicated. To this end, all of these women are consumed by a sense of guilt that renders their viewing of specters an almost natural occurrence. (The ghosts do not appear to men and the men do not see any ghosts). The ghosts in this film do not emerge because of a thirst for revenge, but rather are evoked by the women’s inherent sense of guilt.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 91 which defines the relationships between the characters and creates the causal relationship mechanism between them is Sumi’s trauma and her post-traumatic stress disorder, or schizophrenia, which leads to Sumi’s multiple personalities. Therefore, the showcasing of some aspects of Sumi’s schizophrenic cycle in a detailed manner and of the remainder in a manner that is sometimes segmented and sometimes not connected to the other elements of the story can be regarded as a justifiable approach.

4-2) Character analysis

4-2-1) The character of Sumi

Sumi has a very instable ego. She takes on the role of imaginary characters whose reality cannot be determined based on rationality, but at the same time possesses a very strong sense of self (Id). Her character is not ruled by any rationality or logic and appears to be devoid of any morality. Therefore, Sumi’s character is very complex. While the series of speeches and actions which she takes towards her sister Suyŏn are meant to display Sumi’s image as a ‘mother’, her struggles with Ŭnju are meant to denote her image as a ‘teenage girl.’ Meanwhile, the anger and affection she displays towards her father are meant to signify her image as ‘a wife.’ Sumi’s ambivalence reflects on all of her family. In other words, she is overcome by extremely complex emotions, such as the sense of guilt and defense mechanism she feels towards her mother and Suyŏn, desire and anger towards her father, and the hatred, revenge and envy which she feels towards Ŭnju. These are the core elements with which any reading of the character of Sumi found in the text should be based. First, let us analyze Sumi’s ambivalence toward her mother. Sumi’s sense of guilt toward her mother is motivated by her inherent perception of her mother as a competitor. As a result, Sumi is tormented by two different thoughts, namely that while she wishes her mother could recover, she also yearns to take her mother’s place when the latter dies.

92 Acta Koreana Vol. 14, No. 1, 2011

Sŏn’gyun and Mihŭi (Ŭnju’s brother and his wife) - Sense of guilt over the death of Ŭnju 1 (real stepmother) st rd Suyŏn (They were with Ŭnju on - Actually exists in the 1 and 3 the day of Suyŏn’s death) narratives. - Witness the spirit (ghost) of - Sense of guilt over having left Suyŏn Suyŏn (Mihŭi) to die (shifting of the blame for Suyŏn’s death) - Sense of guilt over having had an affair with Muhyŏn and taking over Illicit relationship + the wife’s position Nurse (caregiver) and new couple - Provides the causes of Sumi’s illness patient relationship Ŭnju 2 Sumi’s alter-ego (one of Sumi’s multiple personalities in the 2nd narrative)

Mother Muhyŏn (father) - Commits suicide due to the illicit - Actually exists in the 1st, 2nd relationship between Muhyŏn and 3rd narratives Couple and her caregiver Ŭnju - Plagued by incapability and - Worries about her daughter irresponsibility, onlooker Suyŏn whom she regards, unlike - His illicit relationship leads to Sumi, as being weak-willed all these incidents - Ghost

Suyŏn - Accidentally dies on the day her mother commits suicide As far as Muhyŏn is - Illusion created by Sumi in the concerned, a patient 2nd narrative daughter with many - Ghost problems Older sister, younger sister

Sumi - Desire to take her sick and weak mother’s position emerges during the process of taking care of her Father and father and sister (Electra complex) Mother and daughter, daughter, object of → In all likelihood wished that her mother would die weak mother desire to Sumi (exhibited through the sense of guilt that lead her to Daughter wishes her see the ghost of her mother) mother would get - Sense of betrayal and loss (hatred and anger toward better bit also that she Muhyŏn and Ŭnju) explodes when her father moves would die their illicit relationship to the next level by allowing (ambivalence) Ŭnju to take the position of mother (which Sumi had → Desire to take the yearned for) position of her mother - Misses the chance to save Suyŏn due to her confrontation with Ŭnju (sense of guilt) → Result of all these incidents: Dissociative multiple personality disorder (creates the alter-ego of Ŭnju) and illusions (brings Suyŏn to life)

Figure 1

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 93

Second, let us look at Sumi’s relationship with Suyŏn. Although Sumi loved Suyŏn very much, the situation developed in a different direction after her secondary sexual characteristics appeared. As a result of this event, Sumi must now perceive Suyŏn as a rival. For Sumi, Suyŏn is both akin to a daughter whom she should love and protect, but on the other hand she has also become a competitor (Sumi’s ambivalence emerges). Sumi kills Ŭnju’s beloved birds and puts one on Suyŏn’s bed. Such a move is designed to focus Ŭnju’s anger on her sister, and to make these two rivals fight one another. To this end, the following interpretation offered by Chŏng Sŭnghun can be regarded as being on the mark, “in the Korean classic novel Changhwa Hongnyŏn chŏn, a mouse whose skin has been peeled off is found on the bed of one of the main characters. This mouse is used as part of a plot to make it look like this main character had engaged in dissolute sexuality and had an abortion. In the film, Sumi employs a similar plot in conjunction with the now fertile Suyŏn, and can be seen as having wanted to get rid of a potential sexual rival.”21 However, Sumi cannot accept nor internally digest (mourn) the trauma occasioned by her mother’s tragic suicide and her sister Suyŏn’s accidental death. Sumi’s reaction to the sound of the wardrobe falling that emanates from the second floor leaves open the possibility that she to some extent anticipated her mother’s suicide. In other words, for Sumi, who desired to sexually possess her father, her mother is an entity that she wishes would disappear. She has prepared herself to ignore the sound emanating from upstairs that she knows will signal her mother’s death. This sound in some ways marks the completion of her long-held dream fueled by her Electra complex of making her father her own. On the other hand, Sumi exhibits an extremely guarded attitude toward Ŭnju, an attitude that is motivated by the possibility that Ŭnju may take the spot vacated by her mother, that is that of the mother. However, it is another event that serves as the catalyst for her problems. While Sumi turns a blind eye to her mother’s death, she never thought that this event would also lead to her sister Suyŏn’s accidental death. This can be perceived as the fundamental cause of Sumi’s post-traumatic stress disorder (PTSD) and subsequent multiple personality disorder. In this regard, Sumi creates an ambivalent structure that encompasses both the sense of guilt she feels toward her mother and Suyŏn and the defense mechanism she has developed to overcome such feelings of guilt. Sumi’s defense mechanism is a two-pronged one. More to the point, while she completely erases (excludes) Suyŏn’s death from her memory, she also finds someone to blame for Suyŏn’s death in order to lessen

21 Chŏng Sŭnghun, “Although it fails to overcome the physical science aspect of horror, Changhwa Hongnyŏn is a work one cannot avert one’s eyes from” (Kongp’o ŭi hyŏngyihahak ŭl nŏmji mothaetchiman nunŭl ttelsu ŏmnŭn yŏnghwa, Changhwa Hongnyŏn)”, Cine 21, Issue No. 408, July 1, 2003.

94 Acta Koreana Vol. 14, No. 1, 2011 her own guilty consciousness for not having saved her sister. The object of her for wrath is Ŭnju, and before long Sumi creates a new alter-ego as a vicious stepmother who torments Suyŏn. Having subconsciously equated herself with Ŭnju, Sumi also creates a new alter-ego of herself as a heroine who protects and shields her younger sister from harm. This is designed to absolve herself of the guilt she feels at having failed to save her sister. Third, let us take a look at Sumi’s ambivalence toward her father Muhyŏn. For Sumi, who desired to take her mother’s place, her father is guilty of having had an illicit relationship with Ŭnju and of having brought her into the house while her mother was still alive. These actions on the part of her father have the effect of breaking Sumi’s excessively pure (naive) heart. Unable to accept this situation, Sumi begins to be filled with a sense of hatred. Unable to stand the sight of Ŭnju in the kitchen acting like she was the new lady of the household and assuming the position of wife to her father, Sumi becomes strongly antagonistic. She even refers to her father as ‘dirty’ at some point. Lastly, let us take a look at Sumi’s ambivalence and identification with Ŭnju. Unaware or ambiguous towards the sexual role created by his daughter Sumi vis-à- vis her father (Muhyŏn), the latter proceeds to disregard Sumi’s desires and bring Ŭnju into their household. For Sumi, this marks the emergence of a new and strong competitor and of an unacceptable challenge. While Sumi was in the past able to play the role of wife, the arrival of a young and pretty stepmother serves to highlight her inherent limitations in such a role, which in turn causes her to become even more confused in her identity as wife and daughter. This leads Sumi to cause a scene at the dinner table by throwing her spoon down as everyone else watches on. By this point, the ambivalence characterized by her spirit of competition (hatred) and envy (admiration) toward Ŭnju, who came in the house as a stepmother and took away her father, has thus been created. This ambivalence toward Ŭnju is greatly impacted by a sudden accident that leads to a new phase. As previously mentioned, Sumi suffers the traumatic experience of losing her mother to suicide and her sister Suyŏn to an accidental death. Sumi immediately begins to activate her defense mechanism. As part of this self-defense mechanism designed to remove the sense of guilt she feels at having failed to save her sister, Sumi erases (deletes) Suyŏn’s death from her memories and even creates an entity who she can blame for Suyŏn’s death. To this end, Ŭnju proves to be a perfect foil. By not only blaming Ŭnju for her sister’s death, but also developing a cruel image of the stepmother who continuously mistreats her sister that effectively allows her to create a new alter-ego (identification) of herself as Ŭnju, Sumi is able to erect a multi-layered defense shield. Thus, we have moved beyond the simple competition (hatred) with Ŭnju

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 95 that exists at the beginning and into a new stage marked by the desire for revenge (punishment). While the alter-ego of Ŭnju which Sumi has created in her head personifies the image of the cruel stepmother who continuously mistreats Sumi and Suyŏn, Sumi’s true ego plays the role of protecting and shielding her sister, an exercise that is carried out in order to be forgiven and escape from the sense of guilt which she feels for having failed to save her sister. Therefore, Ŭnju super- ficially becomes the direct cause of her mother and Suyŏn’s deaths, and an object of rancor and of evil which mistreats Suyŏn (in Sumi’s illusions). This stems from Sumi’s illusions in which she imposes the role of classic villain on Ŭnju as a means of justifying her attempts to protect her sister like a mother would. In other words, Ŭnju (Sumi) becomes a hostile assistant which lessens the real Sumi’s sense of guilt. On the other hand, there is also a different point in time in the story where Sumi evokes Ŭnju, whom she has already pulled into her ego, only this time for different reasons. It is the point in time where her other rivals, namely her mother and Suyŏn, have suddenly disappeared. At this point, Sumi seeks to evoke Ŭnju, who has engrossed Muhyŏn’s love, as an ‘agent (of desire)’ capable of satisfying her own desires. The obscure envy which Sumi showcased at the beginning suddenly becomes much clearer. Another image that we are shown of Ŭnju is that of the temptress who seeks to seduce Muhyŏn with her coquettish behavior. At this moment, while the agent Ŭnju becomes the ideal ego which the real Sumi yearns to be, the rival Ŭnju (the subject of hatred) takes on the image of the superego that seeks to control such desires. However, the multiple memories which Sumi carries with her because of her triple personality disorder, in that she has incorporated not only Ŭnju as an alter-ego but also Suyŏn, becomes the impetus that propels Sumi into seemingly boundless instability and fear. To this end, Sumi’s desires, which are reflected through the Ŭnju alter-ego, are laden with an emptiness that cannot be satisfied and does not allow her to experience any pleasure. The reason why the film Changhwa Hongnyŏn plays better as a tragedy than a horror film can be traced back to the fact that nobody understands the illness that causes Sumi’s illusions and horror. As a result, trapped amidst an endless process that sees her sway between a cure and the recurrence of her illness, and with no solution in sight, Sumi finds herself steadily moving back and forth between the mental hospital and her house. During a scene in which she is engaged in a tense moment with what she believes to be Ŭnju, Sumi says, via her alter-ego of Ŭnju, “You know, do you know what fear really is? There are things that you want to forget, which you really want to delete from your memories. But these cannot be forgotten or deleted. They are attached to you for your entire life. Just like

96 Acta Koreana Vol. 14, No. 1, 2011 ghosts.” The key to Sumi’s struggles in her own personal hell lies in these words.

4-2-2) Muhyŏn

Muhyŏn is the cause of all the events that unfold in this film. While he is of course not responsible for his wife’s serious illness and her long–term medical care, he eventually abandons all hope for his wife who has become bed-ridden because her disease has taken a turn for the worse. From that point onwards, it is as if the burden of reality has been lifted from his shoulders, and he appears to be imbibed by a new found sense of freedom. The director Kim Chiun revealed the following in a dialogue which he had with his counterpart Yun Chongch’an.

While the worsening of her illness causes the sisters’ mother to find herself in a vegetative state and confined to a far-off corner of the house, the father can be seen going happily shopping with her young caregiver whom he appears to have become smitten with. The longing to feel carefree and happy can be regarded as a universal human desire. We can envision him as trying to escape the harsh reality of having to look after his sick wife. The core elements of the Muhyŏn character are on display in the scene where he encounters his two daughters riding their swings after returning home from his pleasant shopping excursion with Ŭnju. Did I look too happy and carefree? Did I hurt their feelings? Do I need to explain anything to them? Although a thousand emotions and thoughts are racing through his mind, Muhyŏn simply goes into the house.22

He brings Ŭnju into the house as a caregiver for the mother. While it is unknown whether they have simply drawn rapidly closer to each other because of this time together or whether they have already been engaged in an illicit relationship, the latter seems like a more probable scenario. In a mere matter of seconds Muhyŏn has lost his authority and prestige as the head of the family in the eyes of his wife and two daughters. The wife’s tragic suicide and Suyŏn’s accidental death are the results of Muhyŏn’s actions. Although Sumi’s illness is a complex matter, Muhyŏn must inevitably be perceived as the one who represents the cause of Sumi’s illness. More to the point, the fissures that eventually break this family apart do not begin with the appearance of the young stepmother Ŭnju, but rather stem from Muhyŏn’s helplessness, insensitivity, and irresponsibility vis- à-vis his family. Muhyŏn simply stands by as a helpless onlooker and watches Sumi’s illness

22 Kim Hyeri, ibid.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 97 worsen and her schizophrenic behavior unfold. The only thing that he can do is to make Sumi take two pills every day. Muhyŏn already knows that Sumi has created new alter-egos called Ŭnju and Suyŏn and that she identifies herself with these characters, even going as far as to talk and behave like them. As such, while he continues to generally ignore Sumi’s behavior, he to some extent accepts it. A perfect example of this occurs when Sumi, as her alter-ego Ŭnju, lies down on Muhyŏn’s bed as if they were a couple. Muhyŏn simply gets up and goes to the sofa in the living room. He does not clearly expose any morally conscious behavior regarding his obscure relationship with Sumi or make any special attempt to help Sumi become healthy once again. Furthermore, at the time of Suyŏn’s accident (when the wardrobe falls down) following the mother’s death, he does not take any action other than stand in the yard and look toward the second floor of the house in a manner than conveys his belief that something strange (a serious accident) has happened. This event stands out as proof positive of the extent of Muhyŏn’s insensitive and irresponsible response to the events that unfold in the house. Put differently, Muhyŏn is depicted in a manner that denotes the fact that he does not have any direct responsibility for his wife’s suicide, his daughter Suyŏn’s death, Sumi’s mental illness or his new wife Ŭnju’s pain. As a result, he is not consumed by fear occasioned by a sense of guilt and ghosts do not directly appear before him. He does not show any sign or engage in any behavior that might indicate that he is devoted to his family on any emotional level, and does not address any emotional problems which emerge within the family. Through his shortcomings and indifference toward everything that occurs within the family, Muhyŏn is ironically located at the center of patriarchal authority. It is the image of Muhyŏn (father and patriarch) ‘as someone who has been granted exceptional indulgence,’ that has caused previous studies to relate the film to the classic novel, Changhwa Hongnyŏn chŏn and caused it to be criticized for repeating the contradictions inherent in the classic novel. The following quote by Chŏng Sŏngil is evidence of the intense reaction which this situation and film evoke.

However, the real sense of guilt stems from the father’s desperate attempt to take his daughters at all costs. The film Changhwa Hongnyŏn flip-flops between these two extremes. Will it choose to hide or be caught? Will it stop with the daughter’s desires or reach the point where the father’s sense of guilt is exposed. … the director Kim Chiun seemingly cannot decide between these two extremes. However, the results would be the same regardless of which road he desired to travel down. This film can be regarded as the story of men’s secretive desires, desires that are laden with a sense of guilt. This can unquestionably be viewed as an anti-feminist film. I

98 Acta Koreana Vol. 14, No. 1, 2011

am really wondering how the women of our era will consume this film. (Chŏng Sŏngil, p. 207)

In fact, depending on what prism the audience views the film from, Changhwa Hongnyŏn can be said to leave much room to be interpreted as a reflection of Kim Chiun’s secret desires as far as young (juvenile) women are concerned. Viewed from this standpoint, Chŏng Sŏngil’s critique, although vicious, is to a large extent warranted.23 However, in my opinion, Muhyŏn did not from the outset feel any guilt toward his wife, who had long suffered from disease, or his daughters Sumi and Suyŏn. This in great part explains Muhyŏn’s desire to get away from these problems and feel happy and carefree. If he had in fact been ridden with guilt vis- à-vis his wife and daughters, then he would simply have been more considerate about bringing Ŭnju into the house or would have made other choices. To Muhyŏn, Ŭnju was a young, healthy and more attractive version of his wife, and someone that, without any further consideration or concern, he decided to take home. As such, he is never aware that these thoughtless choices are the cause of the serious problems that affect his family. To this end, doesn’t it make much more sense to simply assume that Muhyŏn is in fact a stupefied bystander who cannot make heads or tails of his wife’s suicide, Suyŏn’s accidental death, Sumi’s schizophrenia, and his separation from Ŭnju? The reading of ‘desires filled with a sense of guilt’ and ‘desperate attempts’ into the character of Muhyŏn that is found in Chŏng Sŏngil’s piece should, as such, be viewed as an excessive leap of faith. Muhyŏn should have played the most active and detailed role in helping to restore Sumi to health by overcoming the traumas she experienced through the appropriate mourning of her mother and Suyŏn and the willingness to let them go to the other world. This in turn would eventually have led to bringing the illusions created by her multiple personality disorder to an end. The fact that at no time does Muhyŏn convey any such image should be regarded as a more serious and fundamental problem.

23 Sim Yŏngsŏp’s interpretation should be seen as an extension of Chŏn’s criticism. This is because Sim reads Kim Chiun’s desires based on imaging modalities rather than at the narrative level.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 99

5. CONCLUSION

Based on an analytical approach, this study has made it clear that the film Changhwa Hongnyŏn boasts a completely different structure from the classic novel Changhwa Hongnyŏn chŏn. Nevertheless, one cannot completely deny that there are ample aspects in which the film can be compared and discussed in the same breath as the classic novel. The fact that numerous arguments can be raised during the process of comparing the film and novel can in many ways be regarded as the most attractive aspect of this film. The creative energy flowing from the clear and obscure parts of the text, the excessiveness, delay and lack (emptiness) of information make it impossible to simply ignore this film. This hints at the fact that the more carefully we watch this film, the more productive aspects we can derive from it. For example, the excessive amount of information provided and disproportionate descriptions of the dramatic details found in the film can be seen as negative elements which lead to unnecessary misunderstandings. This also opens up the door to complaints such as those related to the use of an excessive number of styles and charges of over-directing. 24 However, the misinter- pretations created by these elements are also a part of the process of interpreting and accepting the text, and help to enrich the debate over this film. To sum up, these elements can be productive and consequently should not always be viewed as bad. There are many elements of this film which were not analyzed nor discussed herein. Many of these elements await new viewpoints and interpretations. These include an examination of the background of the film and the use of an analytical approach to the spatial arrangements found therein. In cases where stories deal with events that transpire in limited spaces, detailed descriptions of characters, as well as the meaning of the metonymic relationship between the characters and background (place, space), often become the key points through which to understand the text. While the characters bestow meaning upon the spaces, the latter play the role of helping to define the dramatic personality of the characters.25 In this sense, the house as the background in which Changhwa Hongnyŏn unfolds is laden with important meanings. The Japanese style wooden house structure, Western style furniture in the two—story building, flower-patterned wallpaper deco and perplexing contrast of colors help to create strange and closeted emotions. The house is a collective place where the family members’

24 DJUNA, ibid., Cine 21, Issue No. 417, August 29, 2003. 25 Sŏ Chŏngnam, Study of Film Narratives (Yŏnghwa sŏsahak), Saenggak ŭi namu Publishing, 2004, p. 246.

100 Acta Koreana Vol. 14, No. 1, 2011 consciousness and unconsciousness (personality, character, tastes, perceptions of life and the world) are reflected. It is a space that is used to express a person’s internal world and a sphere that encompasses imagination and symbols. The house is basically separated into two spaces: outside and inside. The house is also spatially divided into different floors. Another separation is that of the kitchen and bedrooms. These spaces are designed to denote the notions of multitude and complexity. Above all, the inside of the house can be regarded as symbolizing a return to unconsciousness. All the characters, except Muhyŏn, find themselves as soon as they enter the house immersed in uncanny death impulses that they seek to forget. While Ŭnju and Muhyŏn reside on the first floor, Sumi and Suyŏn live on the second floor of the house. The second floor, which serves as the space where their memories with their mother are preserved, plays the role of an imaginary world. This can be regarded as a regressive space. It is a space where the implicit (repressed) subconsciousness is revived, and where Sumi’s compulsive neurosis becomes more serious. In terms of the spaces on the first floor, the kitchen can be perceived as the one in which the negotiations between consciousness and unconsciousness take place. The kitchen also appears to be the space where the imaginary and symbolic worlds embrace the real one. The inside and outside of the house represent the most important symbols in this film. The external appearance of the house (male = Japanese wooden house) represents the essence of patriarchy, while the internal decorations and furniture (female) represent the essence of the wife. Director Kim Chiun’s intention is to tell the story of vestiges of something that ‘have not yet been cleared up.’ Director Kim purposefully decorated the interior of the Japanese-style wooden house with Western-style furniture. In an interview, he likened this to the spiritual state of modern and contemporary Korean history in which the vestiges of the Japanese colonial era and the transplanted culture that developed during the USAMGIK (United States Army Military Government in Korea) period have become intertwined disorder.26 However, these remarks can be perceived as the most foolish comments which Kim has made during the interviews he has given for Changhwa Hongnyŏn. This is because Kim ultimately does not leave himself any room to unlimitedly expand the horizon in relation to the interpretation of the text. In addition, his intentions in the above can be regarded as a misstep which lacks any organic connectivity to the narrative. Based on the connectivity with the film’s narrative, this house, which becomes the dramatic background in which the story unfolds, represents the relationship between Muhyŏn and his wife. Simply put, Muhyŏn and his wife do

26 Kim Hyeri (summary), ibid.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 101 not appear to have been a well-matched couple. The current state of the house in which the story unfolds serves as a hint of this couple’s life together. Their different tastes and methods led them to take care of their house in an inharmonic manner. Perhaps, the disharmony that exists between the couple is in fact the root cause of the wife’s illness. Conversely, the wife’s prolonged disease can be seen as the reason why she decorated the inside of the house in such an unstable manner. Here again, Kim Chiun made a misguided comment. He stated, “I also tried to keep the eerie effects occasioned by this conflict in mind when mixing the heterogeneous elements. Whenever a piece of furniture was intro- duced, I thoroughly sought to incorporate such elements as the texture of the table and the curves on the chair when the camera panned around behind the table. This was done with the expectation that even though this was not overtly exposed in the film, the furniture could be used to convey the overall aura.”27 Despite the sincere decorations used to convey the background which helps to create the dramatic details of the film, the director inexplicably never requires the audience to relate this background to the context of the film in terms of the extension of the narrative. The inside and outside of this house, which are very heterogeneous, eerily beautiful, and yet not harmonious, and the elements inside the house clearly expose the lack of organicity that exists between the family members, and this despite the fact that they have lived together in these common spaces as a family. This is where this film’s story actually begins. This is the origin of all the events that unfold in the house, including the opportunity for Sumi to take the place of her mother, whom she regards as a rival, as the latter lies on her sickbed; opportunity for Sumi to further strengthen her desires vis-à-vis her father; and the opportunity for Muhyŏn to engage in an illicit relationship with Ŭnju and eventually bring her into this house.28 In conclusion, Sumi has no choice but to escape these spaces that exist within the house, both in a physical and mental manner. This action marks the first step towards her being cured of her illness. It is this house that repetitively disrupts Sumi’s ego and leads to the emergence of her multiple personalities. Sumi’s act of leaving the house can in many ways be equated with her escape from these oppressive spaces that have marked her past. It is then and only then that she can possibly develop a new acceptance of reality. The external world leaves Sumi feeling like she is an instable being which has just been removed from the mirror

27 Kim Hyeri (summary), ibid. 28 As long as this is not another trick designed to delay the interpretation of the text, such attempts to tell a different story after having created an atmosphere in which the audience is expected to guess that the cause and effect of all the problems were originated from the house can only be regarded as foolish.

102 Acta Koreana Vol. 14, No. 1, 2011 stage. But at the same time, it is also a space that leaves her feeling like she truly exists. The external world can be seen as both the transitional space advanced by Jacques Lacan and the flexible cognitive space. The transition is designed to show us how the truth of life is based on illusions and to reveal the manner in which life can be lived. While interesting debates can also be had in conjunction with many other aspects of this film, such as the sound and music, use of colors, and image expression methods, the lack of space herein makes it necessary to address these issues at a later date.

Submitted: April 20, 2011 Sent for revision: May 4, 2011 Accepted: May 6, 2011

SEO JEONGNAM ([email protected]) is an associate professor in the Department of Journalism and Visual Communication, Keimyung University, Korea

Translated by MICHAEL BUJOLD and YOUNG-KI YOU

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 103

REFERENCES

Cho Hyŏnsŏl. “The future tasks in the study of classic novels as viewed through the cinematographic adaptation of classic novels—With a special focus on the classic novel, Changhwa Hongnyŏn chŏn and the film, Changhwa Hongnyŏn (Kososŏl ŭi yŏnghwahwa chakŏp ŭl t’onghae pon kososŏl yŏn’gu ŭi kwaje—kososŏl Changhwa Hongnyŏn chŏn kwa yŏnghwa Changhwa Hongnyŏn)”. Journal of Classic Novel Studies (Kososŏl yŏn’gu), Vol. 17, The Old Novel Society of Korea, 2004. Chŏn Chinsŏng. History Tells Memories (Yŏksa ka kiŏk ŭl malhada). Humanist Publishing, 2005. Chŏng Chaehyŏng. “The spatial politics of imagination, illusion, memory and deviance (Sangsangnyŏk, hwansang, kiŏk kŭrigo ilt’al ŭi konggan chŏngch’i)”. Culture and Art, August 2003. Chŏng Sŏngil. “A strange and insecure anti-feminist film (Kiyi hago pulanhan pan feminist yŏnghwa)”. Monthly magazine Mal, July 2003, p. 205. Chŏng Sŭnghun. “Although it fails to overcome the physical science aspect of horror, Changhwa Hongnyŏn is a work one cannot avert one’s eyes from” (Kongp’o ŭi hyŏngyihahak ŭl nŏmji mothaetchiman nun ŭl ttelsu ŏmnŭn yŏnghwa, Changhwa Hongnyŏn)”. Cine 21, Issue No. 408, July 1, 2003. DJUNA (film critic, SF novelist). “Changhwa Hongnyŏn is interesting but fails to fill the holes in the latter part of the film (Hŭngmiropchiman hubanbu ŭi pint’ŭm ŭl ch’aeuji mothan Changhwa, Hongnyŏn)”. Cine 21, Issue No. 408, July 1 2003; “The challenge posed in 2003 by Korean horror films to ‘art’—A semi- success or simply a process of trial and error? (2003 han’guk horror ŭi ‘yesul’ tojŏn—chŏlban ŭi sŏnggong hokŭn sihaeng ch’akoe taehayŏ)”. Cine 21, Issue No. 417, August 29, 2003. Hwang Hyejin. “Cultural literacy education as viewed through a comparative study of classic novels and the film adaptations thereof—with a special focus on the classic novel Changhwa Hongnyŏn chŏn and the film Changhwa Hongnyŏn (Munhwajŏk munsiksŏng kyoyuk ŭl wihan kojŏn sosŏl kwa yŏngsang pyŏnyongmul ŭi pigyo yŏn΄gu)”. Journal of Korean Language Education, Vol. 116, The Society of Korean Language Education, February 28, 2005; “A study of the family narrative exhibited in horror films—with a special focus on the memories in Changhwa Hongnyŏn and 4 inyong sikt’ak (The Uninvited) (Kongp’o yŏnghwa e nat’anan kajok sŏsa yŏn’gu—Changhwa Hongnyŏn kwa 4 inyong sikt’ak e nat’anan kiŏk ŭi munje rŭl chungsim ŭro)”. Yŏnghwa yŏn΄gu (Journal of Film Studies), Vol. 29, Film Studies Association of Korea, 2000, pp. 381–382. Im Chongch’an. “Changhwa Hongnyŏn, a beautiful and sad horror (Changhwa

104 Acta Koreana Vol. 14, No. 1, 2011

Hongnyŏn arŭmdap ko sŭlp’ŭn horror)”. nKino, June 13, 2003. Im Pŏm (interview). “The film Changhwa Hongnyŏn as reviewed by Director Kim Chiun (Kim Chiun kamdok i malhanŭn Changhwa Hongnyŏn)”. Cine 21, Issue No. 406, June 10, 2003. Kim Chihun. “Horror which transforms into surprise, the capture of sadness by psychology—Changhwa Hongnyŏn (Nollaumŭro pyŏnjil toen kongp΄o, simnihak e putchapin sŭlp’ŭm—Changhwa Hongnyŏn)”. nKino, June 16, 2003. Kim Chiun. Changhwa Hongnyŏn (A Tale of Two Sisters). DVD, Woosung Entertainment, September 2005. Kim Chŏnghyo. “Analysis of the color concept in horror films—with a special focus on the film Changhwa Hongnyŏn (Kongp’o yŏnghwa ŭi saekch’ae concept punsŏk—yŏnghwa ‘changhwa Hongnyŏn’ ŭl chungsim ŭro)”. Journal of Basic Design & Art, Vol. 9-5. Korean Society of Basic Design & Art, 2008. Kim Hyeri (summary). “The horror of Changhwa Hongnyŏn: Kim Chiun Vs Yun Chongch΄an (Changhwa Hongnyŏn ŭi kongp’o: Kim Chiun Vs Yun Chongch’an)”. Cine 21, Issue No. 407, June 17, 2003. Paek Munim. “Study of Korean Horror Films—With a special focus on the narratives of female ghosts (Han’guk kongp’o yŏnghwa yŏn’gu—yŏgwi ŭi sŏsa kiban ŭl chungsim ŭro)”. PhD dissertation, Yonsei University, 2002. Pak Chin. “The other in horror films: two methods of encountering psychiatric disorders and ghosts (Kongp’o yŏnghwa sok ŭi t’aja tŭl: chŏngsin chilhwan gwa kwisin i mannanŭn tugaji pangsik)”. Journal of Korean Linguistics, Vol. 25, The Society of Korean Linguistics, 2005. Sim Yŏngsŏp. “Changhwa Hongnyŏn is more focused on Sumi’s legs than her internal world (Sumi ŭi naemyŏn taesin tari e t’amnik hanŭn Changhwa Hongnyŏn)”. Cine 21, Issue No. 409, July 7, 2003. Sŏ Chŏngnam. Study of Film Narratives (Yŏnghwa sŏsahak). Saenggak ŭi namu Publishing, 2004. Sŏng Hyŏnja. “Appropriation and transfiguration of the motifs found in novels— with a focus on the case of the classic novel Changhwa Hongnyŏn chŏn and the film Changhwa Hongnyŏn (Sosŏl motif ŭi ch’ayong kwa pyŏnyong—sosŏl Changhwa Hongnyŏng chŏn kwa yŏnghwa Changhwa Hongnyŏn ŭi kyŏngu)”. Journal of East-West Comparative Literature, Vol. 45, The Korean Society of East-West Comparative Literature, June 2008. Yi Chŏngwŏn. “The memory and reality of women in the film, Changhwa Hongnyŏn and the actuality thereof—as viewed from the standpoint of the classic novel, Changhwa Hongnyŏng chŏn (Yŏnghwa Changhwa Hongnyŏn esŏ yŏsŏng taehan kiŏk kwa silje—kososŏl Changhwa Hongnyŏng chŏn yi pon yŏn’gu kwanjŏm esŏ)”, Han’guk kojŏn yŏsŏng munhak yŏn’gu (Journal of Korean classic

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 105

woman’s literature), Vol. 15, pp. 74–75. Yi Hyoin. “Changhwa Hongnyŏn is in no way related to the classic novel of the same name. It is nothing more than a violation thereof! (Changhwa Hongnyŏn chŏllae tonghwawanŭn amu sanggwan ŏmne! panch’ikida)”. Cine 21, Issue No. 408, July 1, 2003. Yu Unsŏng. “The genre imagination of the director of Changhwa Hongnyŏn (Kamdok ŭi changrŭ chŏk sangsangnyŏk, Changhwa Hongnyŏn)”. Cine 21, Issue No. 406 (June 10, 2003).

106 Acta Koreana Vol. 14, No. 1, 2011

APPENDIX

Breakdown of the scenes in Changhwa Hongnyŏn

Scene Place Core contents of the scene Remarks A doctor can be seen washing his hands alone. A little later, Sumi, who is wearing patient garb, comes in with a nurse. The doctor and Sumi sit facing each other. Sumi does not show any 1 Hospital reaction to the doctor’s questions. The doctor shows Sumi her 1st fade out family photo and then asks her the following question, “Would you please tell me what happened on that day?” Sumi turns her head and is immersed in thought. The scene fades from Sumi’s face to the inside of a car. Fields of reeds can be seen passing over the car window. Muhyŏn 2nd (father)’s face is visible from the rearview mirror. A wooden Inside of flashback 2 house comes into view from the front window of the car. The the car (Scene 2~) housekeeper Mr. Chang welcomes the new arrivals. Muhyŏn gets

out of the car and passes the luggage to Mr. Chang before drawing close to the car once again. Muhyŏn knocks on the car window and says “Aren’t you getting Outside of 3 out?” There is no reaction from the inside of the car. Muhyŏn the car walks toward the house, disappearing from the screen. A while later, the car door squeaks opens as two girls with impudent looks on their faces get out. These two girls, who look The camera like sisters, close the car door and look at the wooden house. gazes After a bit of hesitation, Suyŏn picks up some flower petals and furtively at Inside of brings them to her mouth. Sumi looks around the house. The the pair 4 the car window on the second floor of the desolate wooden house and from the the swings in the yard come into view. Sumi who stares at the window of terrace of the second floor calls for Suyŏn. The two sisters, as if the second in agreement, hold each other’s hands and naturally begin to run floor. toward the lake. The two sisters sit on the dock and put their feet in the water. The camera They look out at the sky. Sumi lies down with her arms gazes at outstretched. Sumi moves her feet in the water. Sumi gets up and 5 The lake them from raises Suyŏn’s hand and looks at it intently for a prolonged period the under of time. At that moment, the father can be heard calling Sumi. the water. The two sisters get up and run toward the house. Entrance of Sumi and Suyŏn enter the house. They open the door to go in the 6 the house living room. The stepmother Ŭnju welcomes the sisters, pouring out the words rapidly as if she were reading from a prepared manuscript, Relationship 7 Living room all the while speaking in a dry, cold, and insensitive manner. The with Ŭnju sisters disregard Ŭnju and go upstairs. In spite of their neglect, Ŭnju continues to have a bright smile on her face.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 107

Sumi enters her room. Thick curtains ensure that the room is engulfed in darkness despite it being the middle of the day. When she opens the curtain, the room is suddenly filled with brightness. Sumi turns the pendulum of the clock on the wall. The clock 8 Sumi’s room starts working. She starts to unpack her luggage and is startled to observe that the stuff she has in her luggage is already in her room. When she opens her wardrobe, the same clothes are already hanging there. Hallway on the second The stepmother Ŭnju goes down the stairs. She enters the master floor – bedroom, picks up the underwear on the bed and then exits. Ŭnju 9 master is surprised to find the same underwear in front of the bedroom room – in door. She throws the underwear into the trash can and then turns front of around to exit. bathroom Muhyŏn is talking on the phone with someone. Ŭnju tells him Master that Sŏn’gyu and his wife will be visiting their house on the 10 bedroom weekend. Muhyŏn hangs up the phone after hearing some bumping sounds. Independent 11 A panoramic view of the house (night) Insert shot Sumi, Suyŏn, Muhyŏn and Ŭnju are having dinner together. Ŭnju tells them brightly that her brother Sŏn’gyu is coming to their house. Muhyŏn ignores her and goes upstairs. Ŭnju asks Sumi 12 Kitchen about the underwear. Sumi also talks about her room. Muhyŏn brings Sumi two pills. Sumi gets up saying that she will not have dinner with Sŏn’gyu. Ŭnju asks Suyŏn why she isn’t following her sister. Suyŏn tries to read her face and gets up to follow her sister. Second Suyŏn goes up the stairs. She meets Sumi who is sitting on the 13 floor stairway and they go off together. Sumi tells Suyŏn to let her stairway know if the stepmother says anything to her. Ŭnju talks to the bird in the cage in a loving manner. She covers Outside of 14 the cage, turns off the lights in the house and then goes into her the house room. Muhyŏn sits in a chair holding a video tape and has a serious look 15 Library on his face. Ŭnju removes her makeup while looking in a mirror. Upon Master 16 hearing footsteps at the door, she lies down on the bed. Muhyŏn bedroom comes in the room. Suyŏn’s Independent 17 Suyŏn sleeps in her room. room shot Independent 18 Sumi’s room Sumi sleeps in her room. shot Master Muhyŏn lies down, holding Ŭnju. He cautiously takes away his 19 bedroom arms and gets up. Muhyŏn comes out from the bedroom and sleeps on the sofa in 20 Library the library.

108 Acta Koreana Vol. 14, No. 1, 2011

Hallway on Independent 21 the first View of the inside of the house shot floor Independent 22 Kitchen “ shot Hallway on Independent 23 the second “ shot floor Ŭnju is sleeping. She opens her eyes after hearing a strange sound Master 24 that is almost as if someone were running around. She gets up bedroom and sits on the bed. A strange sound akin to the hallway of the second floor being swept by a broom draws closer and stops in front of Suyŏn’s room. Suyŏn awakes because of this strange sound. She looks at Suyŏn’s the now opening door in horror. Hands can be seen at the door. 25 room The blanket which covers Suyŏn slowly slips. Suyŏn jumps up and looks at the door. While there is nobody there, she can hear the sound of someone running out. Suyŏn rushes out of the room with her pillow. Sumi opens her eyes while still asleep as Suyŏn gets into the bed. 26 Sumi’s room She tries to calm her down, but is surprised to hear that someone was in her room. Sumi goes down the stairway. A TV is turned on in the living Stairway on room. She covers Muhyŏn who has fallen asleep in the library the second 27 with a blanket and touches his face. Ŭnju appears behind Sumi floor – and tells her not to wake him up. They quarrel with each other. living room Sumi fiercely stares at Ŭnju. Sumi opens the refrigerator to drink some water. She looks around the refrigerator to find the source of a strange smell. She 28 Kitchen opens something that has been wrapped in paper and screams as she finds the remnants of a fish with only the head and tail left. Ŭnju looks at the TV which is turned off as if she is absent- 29 Living room minded and then turns her head to the kitchen. She turns her head again to look at the TV. Suyŏn and Sumi hug each other and lie on the bed. Sumi responds to Suyŏn’s question as to whether it was Sumi who came to her room by saying that it was in fact the stepmother 30 Sumi’s room (Ŭnju). Sumi tells her that both the stepmother and the house are strange. The two sisters fall asleep embracing each other. Their blue blanket fills the screen. Muhyŏn wakes up as the wind blows into the room through an opened window. He opens the door of the master bedroom. He 31 Living room sees only a dispersed bed sheet. Sumi’s room can be seen beyond the wall.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 109

Sumi and Suyŏn are sleeping. Sumi is sweating, tossing and twisting her body as if she is having a bad dream (rapidly cascading images; running, a young girl, a bloody hand, a women standing in the woods, a bloody hand crushed under a fallen wardrobe…). Sumi suddenly opens here eyes. She feels relieved as she looks at Suyŏn sleeping next to her. However, a strange Montage 32 Sumi’s room sound is coming from the floor. A strange looking woman who is sequence crawling under the bed suddenly gets up and rapidly approaches Sumi. The woman stands on Sumi until the latter can no longer breathe properly. A hand comes out from between her bloody legs. A close-up of the woman’s face is shown. Sumi wakes up in a cold sweat. Soon she realizes that she was dreaming. She makes sure that Suyŏn is next to her. 33 Living room Muhyŏn looks up the stairway. Sumi breathes heavily while sitting on her bed. Muhyŏn knocks at her door. He opens the door and tells Sumi to come down. Sumi 34 Sumi’s room opens the curtains and stretches. Realizing that her hand is covered with blood, she picks up the blanket and discovers Suyŏn’s menstrual blood. Sumi sneaks into the bathroom to steal some hygienic pads from Ŭnju. When she closes the bathroom door, Ŭnju can be seen Master 35 looking at Sumi from the bed. Ŭnju says that her menstrual bedroom period is the same. Sumi hurries to get out of the room, without saying much. Sumi begin to go upstairs and then stops and is immersed in 36 Stairway thought for a while. Sumi confirms that she is having her period while sitting on the 37 Bathroom toilet. Suyŏn is sitting on the bed looking at the blood stain. Sumi 38 Sumi’s room soothes Suyŏn saying that everything is fine. They gather up the blanket and go out together. Suyŏn’s nightgown and bed sheet are swaying in the wind on the 39 Clothesline clothesline. Sumi and Suyŏn look outside while sitting on the porch. Sumi is whistling. Sumi looks at the bird which is twittering in the cage. Porch on She says, “Should we kill this bird?” Muhyŏn approaches her, 40 the first asking her why she is outside on such a cold day. He asks Sumi floor whether she feels sick. Sumi asks Muhyŏn to put away the wardrobe in Suyŏn’s room. Muhyŏn tells her not to talk about the wardrobe and goes inside. Sumi walks in the woods alone. She stops walking and then looks 41 Woods back. There are two branches of the roads. Sumi goes into a storehouse that is reminiscent of a greenhouse. Inside the 42 Various pieces of furniture are left in disorder. storehouse

110 Acta Koreana Vol. 14, No. 1, 2011

Suyŏn sits on the porch. The moment she opens the cage to take Porch on out the bird, she becomes startled and stops what she is doing as 43 the first she is suddenly overcome with the feeling that someone is floor approaching. Front of the Sumi comes back to the house with two pieces of luggage she 44 house has taken from the storehouse. Sumi opens the luggage to look at her mother’s keepsakes and family photos. She sees Ŭnju (stepmother), who used to be a nurse, in the photos. Startled by Suyŏn, the two sisters begin to 45 Sumi’s room looks at their mother’s articles. Sumi discovers an injury on Suyŏn’s arm and urges Suyŏn to tell her whether the stepmother hurt her. Suyŏn screams and goes out of the room. 46 Bathroom Muhyŏn is shaving, while running the water. Ŭnju and Sumi are sitting face to face reading books. They start quarreling with each other after Sumi begins to rebel against 47 Table Ŭnju. Ŭnju pleads with Sumi to accept her existence as the stepmother, saying that she is the only mother she has. Muhyŏn turns his head toward the sound of the quarreling and 48 Bathroom turns off the water. Ŭnju intently stares at Sumi and says that her illness has not Implication 49 Table gotten any better. Sumi exhibits an embarrassed and puzzled look of Sumi’s and then throws all the tableware on the floor. illness Muhyŏn looks back toward the sound of bowls and tableware 50 Bathroom being broken. 51 Stairway Suyŏn sits on the stairway with her chin resting on her hands. Muhyŏn approaches Sumi who is crying in the corner. Suyŏn gets up from the stairway and disappears into her room. When Muhyŏn approaches, Sumi gets angry and leaves. When Muhyŏn grasps, Sumi who is trying to get out of the kitchen, she gets 52 Kitchen furiously angry. Sumi is startled when Muhyŏn says that she will only make herself sick again if she repeats these actions. Sumi yells at her father that he is responsible for all the dirty stuff that has happened in this house. Country A dark night. A car can be seen driving down a country road. 53 road Sŏn’gyu and Mihŭi are in the car. Living room Ŭnju cleans the house as if she were expecting guests. She goes 54 on the downstairs when she hears the bell ring. second floor 55 Front door Ŭnju welcomes Sŏn’gyu and Mihŭi. Muhyŏn, Ŭnju, Sŏn’gyu and Mihŭi are sitting at the dinner table. Relationship 56 Kitchen Ŭnju tries to alleviate the mood. Mihŭi starts coughing and has a with these spasmodic attack. Ŭnju starts to scream watching Mihŭi. two people Suyŏn’s 57 Suyŏn, who is asleep, suddenly opens her eyes. room

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 111

58 Yard Sŏn’gyu helps Mihŭi to get in the car and then hurries off. Inside of Sŏn’gyu amd Mihŭi converse in the car. Mihŭi says that she saw a 59 the car ghost in Muhyŏn’s house. The gruesome shape of a girl can be seen between the legs of Mihŭi’s 60 Kitchen Ŭnju, under the sink next to the refrigerator. recollection Inside of 61 Mihŭi sheds tears. the car Ŭnju sits at the table with a distracted and absentminded look on her face. Muhyŏn goes into the room. Ŭnju, who is alone in the kitchen, stares below the sink at the spot from which a strange sound is emanating. Ŭnju is startled upon opening the door of 62 Kitchen the sink. She slowly approaches the sink and closes the door after looking inside. She lies on the floor to look under the sink. She looks at the table in fear. She discovers a hairpin under the sink. She stretches her hand out to grasp the hairpin. Suddenly, a hideous hand grasps Ŭnju’s hand. Ŭnju is absent-mindedly sitting on the bed, holding two pills. Master Muhyŏn looks at Ŭnju. Ŭnju says that strange things have been 63 bedroom happening since the kids came back home. Muhyŏn goes out, saying that he will check it out. 64 Kitchen Muhyŏn looks around the kitchen. Ŭnju walks around the room with an uneasy look on her face as Master she mutters to herself. She stops walking around after hearing 65 bedroom strange sounds (the color of the wallpaper changes from blue to red.). Muhyŏn opens the bird cage to find the birds dead in the cage. Outside of 66 Ŭnju furtively looks at Muhyŏn from the window as the latter the house walks away with the bird cage. Ŭnju violently knocks on Suyŏn’s door as an angry look comes Suyŏn’s 67 across her face. As the door is locked and cannot be opened, she room looks very stressed as she turns around. Master 68 Ŭnju nervously opens a drawer to look for a bunch of keys. bedroom Ŭnju opens the door to Suyŏn’s room and enters. She discovers the photo of their mother and one of hers that has been ripped out. Ŭnju removes the blanket that is covering Suyŏn to wake her up. Upon taking off the bed sheet, she discovers a dead bird on Suyŏn’s Fear of the 69 the bed. Ŭnju pulls Suyŏn down from the bed in a fit of anger room wardrobe and pushes her into the wardrobe. Suyŏn screams and struggles to get out of the wardrobe. Ŭnju yells at Suyŏn and locks the wardrobe. When Suyŏn apologizes, Ŭnju opens the wardrobe. However, she soon locks it up again. Sumi’s Sumi wakes up because she hears strange sounds. As she goes out 70 room/ of her room, she discovers Ŭnju coming out of Suyŏn’s room. hallway

112 Acta Koreana Vol. 14, No. 1, 2011

Suyŏn’s 71 Sumi hastily goes into Suyŏn’s room. room 72 Hallway Ŭnju stops walking in the hallway. 73 Sumi’s room Sumi opens the wardrobe and discovers Suyŏn. 74 Hallway Ŭnju turns her head from the hallway. 75 Sumi’s room Sumi cries, embracing Suyŏn. Muhyŏn buries the dead birds in the ground. He sees a shadow 76 Yard by the house’s window. Sumi tries to calm Suyŏn down as the two sit on the bed. Muhyŏn The comes into the room and discovers the ripped photos. Muhyŏn exposure of presses Sumi as to why she would do such things. Sumi tells him Suyŏn’s the truth 77 that Ŭnju is tormenting Suyŏn but Suyŏn does not say anything. room regarding Muhyŏn angrily tells Sumi that Suyŏn is dead. Sumi begins to Suyŏn’s weep as she looks at Suyŏn. Suyŏn screams and goes away with a existence. shocked look on her face. A panoramic view of the moon set against the dark sky and the Autonomous 78 Insert house. shot Muhyŏn is talking on the phone with someone: he says that 79 Library (Sumi) is getting worse. Ŭnju walks down the hallway dragging a bloody sack with her. 80 Hallway She strikes the sack with a golf club she has brought with her. Scene in which Sumi looks back in shock after hearing a sound. /scene in which articles pour out from pieces of furniture falling Montage Illusions 81 down / scene in which the glass in a photo frame of Suyŏn sequence seen by Ŭnju breaks / scene in which a woman is crushed under a fallen wardrobe as her hand trembles, etc. Sumi screams and wakes up from her sleep. She slowly looks 82 Sumi’s room around and then gets up. She discovers a note from Muhyŏn under the door, saying that he is going out for a while. Front of Sumi knocks on the door, calling Suyŏn. She sees that Suyŏn’s 83 Suyŏn’s room door has been nailed shut. room Sumi hastily runs toward the library. There is nobody in the 84 Library library. Sumi stands in confusion. She hears Suyŏn’s voice and then runs in the direction from which the sound is coming. Sumi is shocked at the sight of blood on the floor. The 85 Hallway bloodstains continue along the hallway. Sumi follows the blood stains. Sumi discovers a sack with a pool of blood on the floor. Sumi 86 Living room cries as she tries to open the sack. However, she is unable to open the sack. Sumi searches through the kitchen drawers. Suddenly, the sound 87 Kitchen of water boiling in a pot on the stove can be heard. 88 Living room Ŭnju drinks water on the sofa.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 113

Sumi continuously searches for something (knife or scissors) in 89 Kitchen the kitchen. Sumi can be seen taking the pills at the table while wearing 90 Montage Flash cut Ŭnju’s clothes/ Sumi can be seen striking down the sack. Sumi walks down the hallway following the bloodstains on the 91 Hallway floor. Medicine A room filled with medicine. Sumi stands in front of the 92 dispensary wardrobe where the bloodstains disappear. 93 Living room Ŭnju fiercely stares at the surroundings. Sumi opens the wardrobe. The bloody sack has been put in the Medicine 94 wardrobe. At the moment Sumi’s hand reaches the sack, the dispensary whistling sound emanates from the pot as Sumi starts to scream. The pot making the whistling sound comes into sight. Ŭnju 95 Kitchen washes her bloody hands. Ŭnju carries the pot with boiling water with her. Sumi cuts the sack with the scissors she found in the drawer. Still holding the pot, Ŭnju approaches Sumi from behind. When Ŭnju Medicine 96 tries to pour the boiling water on her, Sumi stabs Ŭnju’s hand dispensary with the scissors. The two begin to struggle. Sumi loses consciousness after hitting her head. Ŭnju drags Sumi from the hallway to the living room and then 97 Living room Fade throws her out. Sumi opens her eyes after regaining consciousness. The bloody 98 Living room Fade stains have disappeared. Ŭnju approaches Sumi who has fainted after trying to carry a heavy bronze statue. Sumi asks Ŭnju for help. Saying that she will 99 Living room help Sumi. Ŭnju prepares to strike Sumi with the statue. Muhyŏn arrives home. Ŭnju disappears upon hearing the sound of Muhyŏn opening the front door. Entrance Muhyŏn opens the door and comes in the living room. He 100 door→ discovers Sumi who lies out cold next to a broken statue. Muhyŏn living room lays Sumi down on the sofa. Sumi’s hands are bloody. Medicine Muhyŏn takes out the medicine from the broken drawer. A 101 dispensary bloody doll is tied up in the wardrobe. When Muhyŏn comes in with the medicine, Ŭnju can be seen sitting on the sofa. Ŭnju asks Muhyŏn about Suyŏn. Muhyŏn passes the medicine to Ŭnju, asking her to stop it. He goes into the room and comes out again. Ŭnju is startled by Muhyŏn. However, the person we see is not Ŭnju but Sumi (who is sitting The truth is 102 Living room on the sofa). The person wearing Muhyŏn’s suit that comes out revealed. from the room (back figure) is in fact Ŭnju. Sumi feels confused about her identity as soon as she sees Ŭnju. (The scenes slowly move backwards. The scenes suddenly get faster until the camera suddenly stops at a certain scene.)

114 Acta Koreana Vol. 14, No. 1, 2011

Sumi walks down the hallway dragging the sack. Sumi strikes the sack with a golf club. (Scene 80 was in fact carried out by Sumi, 103 Hallway Truth not Ŭnju. Sumi realizes that she is responsible for all the other events as well.) 104 Living room Sumi is distressed, holding her hands. 105 Ŭnju talks to Sumi: do you still not know? Sumi is in a state of disarray. (Voice over: this is because the environment has suddenly changed. Your illness has not gotten 106 any better. Didn’t we promise not to talk about the wardrobe? Your menstrual period is exactly the same as mine) 107 Muhyŏn talks to Sumi: Suyŏn is dead! Truth Sŏn’gyu and Mihŭi sitting at the dinner table: No, I do not 108 Truth remember. 109 Sumi kills the birds by breaking their necks. Truth 110 Sumi takes the medicine, sitting at the table. Truth 111 Sumi removes the makeup, looking at the mirror. Truth Front yard Sumi gets out of the car alone and looks at the sky (She was with 112 of the Suyŏn in Scene 4. However it is now revealed that Sumi was in Truth house fact alone). Sumi sitting on the sofa suffers from a disorder. Muhyŏn and 113 Living room Ŭnju are looking at her pitifully. Sumi takes two pills out of her hand. Ŭnju sits on a bench in the hallway in the hospital. She is looking 114 Hospital at Muhyŏn talking with a man from afar. Sumi in patient wear is sitting on the bed. Ŭnju sits next to Sumi. She rubs Sumi’s head. Sumi can see the real Ŭnju, not the Ŭnju Inside of from her illusions. Sumi forcefully grasps Ŭnju’s wrist as the latter 115 the ward stands up after saying goodbye. Ŭnju barely manages to take her wrist away from Sumi and then exits the ward. Sumi does not show any change in her facial expression. Inside of 116 Ŭnju and Muhyŏn are in the car. the car Inside of 117 Sumi is absent-mindedly sitting on the bed in tears. the ward The screen takes on a yellowish hue as we go back to the past. The two sisters play together on the swings. Ŭnju, who is a nurse, 118 Yard and Muhyŏn can be seen wearing delighted looks on their faces as Past they come back home. A dark look comes over Suyŏn’s face. Sumi looks displeased. 119 Living room Inside of the house, the mother is sitting on a chair. Past 120 Yard Sumi and Suyŏn see Ŭnju and Muhyŏn go inside. Past Ŭnju is sitting at the table alone in darkness. She seems to be 121 Kitchen recollecting the past.

Seo: Analysis of Changhwa Hongnyŏn (A Tale of Two Sisters) 115

Sumi gets up in the middle of the meal. Muhyŏn follows Sumi. 122 Kitchen When Ŭnju takes away Suyŏn’s spoon, Suyŏn throws her meal in Past the sink. Suyŏn’s Suyŏn cries and lies down on the bed. Her mother comes to her 123 Past room and cries with her. Suyŏn, who is sitting on the bed, turns her head when she hears a 124 familiar whistle. Ŭnju, who was sitting at the table alone, hears the whistle and 125 Kitchen walks in the direction from which the whistling sound is emanating. As Ŭnju walks down the hallway she can see blood oozing out 126 Hallway from the floor. Ŭnju opens the door and enters the room. When she turns on the light, two eerie chairs come into view. Four mirrors come into view as she removes the curtain that hangs from between the Suyŏn’s 127 chairs. Ŭnju looks back in surprise as the door suddenly closes. A room flickering light is turned off and the door of the wardrobe opens. Ŭnju pulls on the hair which is stuck between the blankets in the wardrobe as a woman crawls out and Ŭnju steps backward. A panoramic view of the dark house. Ŭnju’s screaming can be 128 Insert outside. Sumi lies on her bed and closes her eyes. Tears flow down her Inside of 129 cheeks. A whiteout effect is used to signify that we are going back the ward into her recollections. Suyŏn, who was sleeping in Sumi΄s room, suddenly opens her Sumi’s eyes. She rubs her eyes, and gets up to go back to her room. room→ Seeing that the door to the wardrobe is open, she approaches to 130 Past (3rd) Suyŏn’s look inside. Her mother has hung herself to death inside the room wardrobe. Shocked, Suyŏn tries to revive her mother as the wardrobe falls down with a thud and crushes Suyŏn. Ŭnju is happily preparing food for her brother’s Sŏn’gyu’s visit 131 Kitchen when she hears the noise emanating from the second floor and “ looks at the ceiling. Muhyŏn stands next to the car and looks above when he hears 132 Yard “ the noise. Sumi combs her hair and suddenly looks in the direction where 133 Sumi’s room “ the noise comes from. 134 Kitchen Ŭnju looks at the ceiling. “ 135 Sumi’s room Sumi turns her head. “ 136 Yard Muhyŏn looks above. “ 137 Hallway Ŭnju heads in the direction where the noise is coming from. “ Ŭnju discovers that the wardrobe has fallen down, hears Suyŏn’s Suyŏn’s screaming sound, and sees Suyŏn’s hand scratching the walls of 138 “ room the wardrobe. Ŭnju’s feet can be seen from the fallen wardrobe as she turns around. Ŭnju comes out the room and begins to walk away anxiously. She 139 Hallway “ turns back toward the room and then encounters Sumi.

116 Acta Koreana Vol. 14, No. 1, 2011

Suyŏn’s Suyŏn’s hand can be seen signaling for help from under the 140 “ room wardrobe that is crushing her. Sumi rudely tells Ŭnju not to pretend she is her mother. Ŭnju begins to quarrel with Sumi again after Sumi tells her not to meddle in her affairs. At this point, Ŭnju seems to have decided 141 Hallway “ that she will make sure that Sumi is ridden with guilt for the rest of her life (Ŭnju does not give Sumi the chance to save her sister). Suyŏn’s 142 Suyŏn is struggling under the wardrobe. “ room Outside of As Muhyŏn is about to open the entrance door, Sumi pushes it 143 the front open and tries to exit. Sumi fiercely stares at Muhyŏn as she turns “ door her head to walk out of the house. Suyŏn’s 144 Suyŏn is dying under the wardrobe. “ room Reeds field Sumi walks out with heavy steps, leaving the wooden house, Ŭnju 145 in front of stands on the porch on the second floor and Muhyŏn stands at “ the house. the front door, in the back. She slows her steps and then stops. Suyŏn’s Suyŏn’s tear-filled eyes are closed and her hands can be seen 146 “ room trembling. 147 Reeds field Sumi looks back after a moment of hesitation. “ Porch on Ŭnju can be seen standing and looking at Sumi. She stares fiercely 148 the second “ at Sumi and then closes the door. floor Sumi turns her head again and then starts to walk. The screen 149 Reeds field “ turns into a panchromatic photo and the film stops. 150 Dock Sumi is back sitting on the dock alone just like she originally was. “