"The Handmaiden"의 두 판 사이의 차이

2022년 12월 23일 (금) 11:54 기준 최신판

The Handmaiden
https://www.pinterest.co.kr/pin/564498134534553739/
Title (English)	The Handmaiden
Title (Korean)	아가씨
Directed by	Park Chan-wook
Written by	Seo-kyeong Jeong, Park Chan-wook
Screenplay by	Seo-kyeong Jeong, Park Chan-wook
Based on	"Fingersmith" by Sarah Waters
Starring	Kim Min-hee, Kim Tae-ri, Ha Jung-woo, Cho Jin-woong
Release date	14 May 2016 (Cannes), 1 June 2016 (South Korea)
Running time	144 minutes
Country	South Korea
Language	Korean, Japanese

The Handmaiden (2016) is a film by director Park Chan-wook based off the period novel Fingersmith by Sarah Waters. The film centers around 2 women, a Japanese heiress and her new maid, and the men in their lives who seek to control and extort them. The film features themes of colonialism, feminism, and eroticism. It won great critical acclaim for both its beautiful filmmaking features and its alluring plot. It has also been a topic of academic discussion as it explores multiple themes in deep and interesting ways.

Plot

A woman is hired as a handmaiden to a Japanese heiress, but secretly she is involved in a plot to defraud her. Twists and turns abound in this intimate yet grand film.

Cast

Kim Min-hee as Lady / Izumi Hideko

Kim Tae-ri as Maid / Nam Sook-hee

Ha Jung-woo as Count Fujiwara

Cho Jin-woong as Uncle Kouzuki

Kim Hae-sook as Madame Sasaki

Moon So-ri as Hideko's aunt

Lee Yong-nyeo as Bok-soon

Lee Dong-hwi as Goo-gai

Jo Eun-hyung as young Hideko

Rina Takagi as Hideko's mother

Han Hannah as Junko

Lee Ji-ha as Owner of Ryokan

Jeong Ha-dam as Housemaid

Choi Byung-mo as Audience member

Awards and Nominations

Academic Analysis

The Handmaiden (2016) is a story of love, connection, control, and betrayal. In three parts, the film weaves a complex story of two women - Lady Hideko and her Korean maid, Sook-hee. Each of the film’s parts slowly illuminates more of the story, relationships, and motivations of these two women, along with the swindler Count Fujiwara and Hideko’s perverted uncle Kouzuki. The film is a masterpiece in cinema and storytelling, with so much layered meaning created by complex mise-en-scene and brought together by beautiful cinematography.

Park Chan-wook, an already extremely accomplished director at the time of making this film, is truly an auteur, seamlessly writing meaning into each frame with subtlety and precision. Many of his previous works reached great acclaim and worldwide recognition, yet many see The Handmaiden as his most successful work. This is perhaps due to the huge number of readings that can be done on the film’s meaning, but it is also perhaps because Park - a straight man - manages to create an incredibly interesting and successful dialogue on the male gaze. It is near impossible to create a lesbian storyline that acknowledges, describes, and shows the sexuality of women who love women without being accused of perpetuating the male gaze or casting the characters through such a lens. The Handmaiden is not without its critics in this respect, however I believe that Park is successful in flipping the script and creating a film that holds the male gaze up to a mirror - one held by a lesbian woman.

Through symbolism Park creates deeper meaning in The Handmaiden, and in doing so simultaneously acknowledges the prevalence of the male gaze in lesbian romance, and subverts it - untying the two from one another and casting away male gaze, if only briefly. Symbolism is ever-present in The Handmaiden, this film alone could be the subject of a university course. However due to the constraints of this paper’s format, this essay will explore in-depth two of the major parts of mise-en-scene that create meaning in The Handmaiden: framing and costuming.

Bibliography

https://en.wikipedia.org/wiki/The_Handmaiden

https://www.imdb.com/title/tt4016934/?ref_=fn_al_tt_1