Cinematographic Excellence of a Generic Drama

The Winter Sonata narrative, although significant for penetrating the international market and achieving fame for Korea, was generic and blasé in the first few episodes, which will only be discussed in this short review. John Storey noted that popular culture’s most noteworthy form is through television, which challenges social norms and world ideologies. However, the female protagonist, Yujin, in her schoolgirl days is neither shy nor defiant and the character she portrays is “flat”. The lack of a round character is not limited to Yujin but also incorporates the teenage males. Joon Sang personifies the stereotypical front of a aloof “bad boy” with hidden sensitivity and charm for only the girl of choice, Yujin. Sang Hyuk suffers from the childhood friend syndrome: once a friend always a friend although his emotions escalate into emotional attachment for Yujin. His overly compassionate persona could not be seen as genuine since it is extremely simulated. Although the actors endure trite roles, they establish an identity outside the dialogue and through body language.

Although Yujin’s personality is universal, the populace is able to effortlessly relate to Yujin especially when she desires “to hold someone’s hand”. This association to the general public exceeds local and continental fame through success in the global market, which counteracts the struggle of Korean cinema a decade earlier. The wholesome love shown between Yujin and Joon Sang lacked crudeness and lust, and, therefore, the brilliant director Yun Soek Ho can incorporate a larger audience and expand internationally.

The drama’s central focus for recognition is through kinesics and cinematography. Although the main musical theme is unforgettable, the soundtrack does not coincide with the scene’s mood through its childish and corny manner. The melodies lack emotional stirring and elevating tension. Instead, Yun Soek Ho concentrates on slow motion and angles as well as body motion. Yujin’s constant hand motion in Joon Sang’s direction, in addition to a variety of other gestures, embodies Peter Brooks’ theory on melodrama. Brooks notes that albeit a plot is superficial, the kinesics, even if frivolous, embellish the intense inner drama of each character.

In addition, Yujin’s constant desire to unlock Joon Sang’s secrets creates memorable scenes such as the piano incident. While Joon Sang reveals his superb instrumental skills, the midday sun’s light reflects downward through the window, casting a shadow on Joon Sang and fully illuminating Yujin. Metaphors articulate a sentiment louder than words, and this occurrence signifies Joon Sang’s mysterious character whereas she is easily decipherable. During their schooldays, the scene denoting the first date with snowfall is spectacular. While in slow motion, Joon Sang gently flings snow into the air and it glistens as it travels downward on Yujin. The entire scene is beautiful with the angle of the sun and the crisp freshness of the snow. Joon Sang’s light-hearted behavior represents the opening of his heart to Yujin, but more importantly, this scenic view illustrates the magnificence of Korea as a hot tourist spot. Most of the film is reflects on Korea’s natural wonders and commercialism indirectly.

On an analytical level, the male central characters represent Korea. Sang Hyuk symbolizes traditional values, marriage, and the childhood Korean friend. Whereas Joon Sang is a modernized Korea, swaying Yujin, contemporary Korea, to chose between traditional moral values of the older generation or a more modernized view on life. Tension between the conventional Korean parent and the modernized less nationalistic teenager, who seeks exposure to Western ideals including English, has been a surfacing qualm in contemporary Korea and this drama serves as an example of the importance of choosing innately (preferring Joon Sang over Sang Hyuk), Western aspects of life. (EB)