Yi, Chang Dong’s films or novels show consciousness of neglected or isolated people treated as ‘other people’ through description. They are those who can not adapt themselves to their societies infested with capitalistic desire, yearning and having nostalgia for their basic instinct of narcissism. T...
Yi, Chang Dong’s films or novels show consciousness of neglected or isolated people treated as ‘other people’ through description. They are those who can not adapt themselves to their societies infested with capitalistic desire, yearning and having nostalgia for their basic instinct of narcissism. Therefore, they are doomed to fail to adapt to the reality. They regard this society as of no value to survive but they still have to live. Then, they deceive themselves and live by false desire ending up with evoking unknown violence inside them. In Yi’s works, characters are divided into two phases, one of which is people with nostalgia for narcissism and the other, people with degraded capitalistic desire who still stick to their lives. To adapt themselves to social systems, they get to lose true feeling of life, which eventually causes them to be neglected people. In his films like Green Fish, Peppermint Candy, and Oasis, Yi tries to show it is impossible to lead those characters to communicate with each other because they pursue value of life and basic instincts, also. It is easily seen in his novels and films that those characters never show reconciliation or unity. Makdung in Green Fish and Kim Yongho in Peppermint Candy have suppressed relationships with people around without any trust. Hong and Gongju in Oasis were surrounded by people with no trust. This means the lack of trust toward reality, social system, and human. Yi’s description, production and excellent choice of screens to arrange them are the key success factors in his films. He is the film director using wide screen to reveal total meanings of the era of main characters. Shown in Peppermint Candy, piled up briquets, old-fashioned orange-colored telephone, a little piece of paper on telephone poles and so on, contribute to the popularization of his films.
Yi, Chang Dong’s films or novels show consciousness of neglected or isolated people treated as ‘other people’ through description. They are those who can not adapt themselves to their societies infested with capitalistic desire, yearning and having nostalgia for their basic instinct of narcissism. Therefore, they are doomed to fail to adapt to the reality. They regard this society as of no value to survive but they still have to live. Then, they deceive themselves and live by false desire ending up with evoking unknown violence inside them. In Yi’s works, characters are divided into two phases, one of which is people with nostalgia for narcissism and the other, people with degraded capitalistic desire who still stick to their lives. To adapt themselves to social systems, they get to lose true feeling of life, which eventually causes them to be neglected people. In his films like Green Fish, Peppermint Candy, and Oasis, Yi tries to show it is impossible to lead those characters to communicate with each other because they pursue value of life and basic instincts, also. It is easily seen in his novels and films that those characters never show reconciliation or unity. Makdung in Green Fish and Kim Yongho in Peppermint Candy have suppressed relationships with people around without any trust. Hong and Gongju in Oasis were surrounded by people with no trust. This means the lack of trust toward reality, social system, and human. Yi’s description, production and excellent choice of screens to arrange them are the key success factors in his films. He is the film director using wide screen to reveal total meanings of the era of main characters. Shown in Peppermint Candy, piled up briquets, old-fashioned orange-colored telephone, a little piece of paper on telephone poles and so on, contribute to the popularization of his films.
※ AI-Helper는 부적절한 답변을 할 수 있습니다.