How Thriller Film Reflected The Cultural Difference Between Korea and The United States

I will study “A tale of two sisters” and “The Uninvited” and focus on how thriller film reflected the cultural difference between Korea and the United States. The genre of both films is a horror film. The horror film refers to a genre that intentionally evokes negative emotions of fear and surprise to the audience. The earliest horror films are influenced by German Expression. German Expressionism. German Expressionism was a number of connected creative movements that reached its peak in Berlin in the 1920s after World War I. Also, in details, both films are a thriller film.

Thriller refers to movies with narratives that cause and sustain tension. Thriller is a very broad concept that means a medium-level narrative structure of suspicion and reversal centered on criminal cases. A tale of two sisters is a South Korean film and it was written and directed by Kim Jee-Won. It was released on June 13, 2003. A tale of two sisters is a film that influenced by Korean traditional folktale “Janghwa, Hongryeon”. The plot focuses on a recently released patient from a mental institution who returns home with her sister, only to face disturbing events between her stepmother and the ghosts haunting their house- all of which are connected to a dark past in the family's history. The Uninvited is an American film and it was directed by Guard Brothers and it is a remake of the South Korean film A tale of two sisters. It was released on January 30, 2009. It is 6 years after A tale of two sisters released. There are many cultural impulses going on from Hollywood to buying and producing Korean movies. Those problems arise during the original interpretation process because they cannot be understood by their own cultures, or because of other cultural identities. These problems soon lead to suspension of production and the inability to purchase copyright.

Since the 1990s, the movie has been as successful as the Korean film industry, and there have been many Hollywood's love calls. However, it is also true that only five of the movies purchased during that time were produced and there are many difficulties in making the appeal of the audience due to different interpretations. is a partner who will repeat and remember his own experiences and does not invite the heroine as a sympathizer-double in front of the screen instead. In other words, the problem of memory through the repetition of trauma in the sense that it has begun, the experience of direct contact with monsters as the subject of sight, is that it has begun to form new terrain. Character Su-mi cannot realize for herself that this repetition of trauma is an unconscious foot. As Su-mi's consciousness stopped when her birth mother and Soo-Yeon died, it is now part of her unconscious mind. Sumi has a granddaughter Complex. That's why her birth mother and Soo-Yeon tried to keep their position by fighting for pride instead against Eun-Joo. With a quiet and introverted personality, Su-yeon does not talk to anyone but Sumi. She is always scared and wants to be with Sumi. And always wearing colorless clothes can make you look pure and clean. However, Su-yeon is also the third person to appear in Su-mi's imagination. As you can see from her pale-looking, thin-looking appearance, Su-yeon is also a dreamy personality that Su-mi wants to escape. The prototype is not necessarily projected on the outside. Eunjoo described Animaniemus as a painting or a work in birds, sciences, sun, and moon. Thus, the bird in the cage is an Animus of the Eunjoo’s illusions that are trapped. So when Eunjoo Animus was destroyed, he lost his temper and tried to destroy the hydration. Unlike Sumi in Janghwa, Hongryeon, Anna is a younger brother in "Anna and Alex."In other words, Su-mi's character was replaced by his younger brother in the remake.

Then, whether or not her younger sister Soo-yeon was born as Anna, it is not. Anna is different from both Su-mi and Soo-yeon. Anna projects a typical American teenager. Anna's personality, which was preceded by, is expressed in a serious and quiet character. Although it has been arranged in the same lively and healthy way as a teenager, it actually has a strong and violent duality in it. In Anna's outspoken remarks to her father, Anna shows a little psychopathic personality, not a nice, quiet child who was originally aware of him. Alex has a bright and cheerful personality and a behavioral tendency. This is to help Anna's self by supplementing the part of her inability to act. But as Alex, the shadow, acts more broadly and deeply, Anna's consciousness gradually tends to depend on her shadow, Alex. Alex strongly resists when his father denies his existence. Of course, she is a rebellious and emotional teenager until now, but when her father recommends Anna to reveal her absence and bring her to attention, Alex violently resists and treats her father as a liar. This is Anna's unconscious cry that Anna does not want to acknowledge Alex's absence as another self-created. However, Anna does not deny herself because Anna herself has doubts at the bottom. So Alex reacts violently and disappears. In the end, both Anna and Alex are fantasies created by Anna's dark shadow. Su-yeon and Alex also have different personalities.

Su-yeon is only passive and accepting, but Alex makes Anna a stepping stone by persuading her active and faltering Anna to act or act on her own. has a time structure that begins now and ends in the past. Anna and Alex are talking hours before the night of the incident. It's also a sequential arrangement. In >, two areas are presented: Su-mi's guilt and the other is reality itself.Sumi's guilt caused by ignoring her brother's death is actually exaggerated.Responsibility for his brother's death is linked to hostility toward his stepmother, and much of the responsibility lies with Eun-Joo, who has not told the truth. And two areas are also presented in Anna and Alex.One is Anna's guilt and the other is a reality. His vengeance led to Alex and his mother's death, and the guilt that he had killed both of them in the accident turned it into a faultless fact. And the question of the absence of the mother is linked by the revelation of Rachel's identity, which brings the truth to the surface. And in the process of solving these questions, Anna became an even more vindictive force. Not only does the picture differ in space, but the lines of the doctor who starts the movie are different. Sumi's counseling office took the entire base color with a bluish white tone, but Anna's counseling office took a warm brown tone base color. Anna's counseling room is quite in contrast to Sumi's rigid and hard-looking counseling office. This characteristic may be attributed to cultural differences. This is because in Korea, mental institutions are more familiar than counseling centers and doctors' questions are more relevant and accepted than counselors. In the U.S., however, there are experts in a wide range of areas ranging from mild mental stress to signs of an extrovert. And these cultural differences are seen from within the screen of the movie. The first family gathering in is expressed as meal time.

This can be recognized as a unique Korean sentiment, which represents a culture in which families all gather together to eat and cherish. And it reflects the most central society, like Eun-joo and Su-mi sitting on both sides with their fathers.However, by showing his father's back, he indirectly revealed his false colors on the screen. And Anna and Alex can check out the family's common time after the meal. The screen confirms that the family, not the center of anyone, is not round towards the TV and is in a position to communicate. And given the location of the couple and the location of the children, couples-oriented time is more important than family time. Unlike the dark-tone, Anna and Alex used a variety of colors to distinguish objects in a remake, compared with the original color expressing a symbol of family psychological state.