• Fashion & Textile Research Journal
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• v.20 no.3
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• pp.257-265
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• 2018

This study investigated the colors of the costumes in the film 'The Handmaiden'. The author categorized and examined the hue and tone of the main character's costume as well as provided an adjective image surveyed from the standpoint of the audience in order find if the intended story of the director is delivered to the audience through costume colors. Study method analyzed 25 set costume colors of the heroine 'Hideko'. The color analysis were analyzed by capturing DVD images that showed the costume of 'Hideko'. The colors of costumes were analyzed by recognition through the eyes based on the IRI, Hue, and Tone 120. In addition, the analysis of the IRI adjectives image were conducted through the survey. Costume hue of the heroine 'Hideko' in the film 'The Handmaiden' were black, yellow, white, green, and purple. There were many colorful costumes in the movie. Tones were very pale, deep, bright, vivid, strong, and pale. Chroma were evenly distributed and brightness were distributed in the order high, middle, and low. They were interpreted as the intention of showing the situation and psychology of 'Hideko' in various scenes of the film through various costume colors. Color images of the film 'The Handmaiden' were classified as feminine, mature, classy, delicate, classic, noble, polished, refined, showy, western, mellow, pure, and decorative.

• The Journal of the Korea Contents Association
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• v.19 no.1
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• pp.413-420
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• 2019

The purpose of this study is to analyze the main character characters of the movie [THE HANDMAIDEN]. All four characters in the movie [THE HANDMAIDEN] have in common is that they all have seen 'the Existence' and have the factors behind the villainous figure. Kozuki and Hideko had clear and typical symptoms, have been diagnosed as a structural layer of perversion and neurosis by Lacan's psychoanalysis Methodology. On the other hand, since Sook-hee and Ko-pandol have the nature of being a criminal, they have long been faced up to the existence. It was difficult to approach to the structural layer of psychoanlysis Methodology. Therefore, the PCL-R diagnosis used to analyze the personality type of Sook-hee and Ko-pandol and add structural analysis again. As a result, Kouzuki had an Sadist, Hideko had an obsessive compulsive and Sook-hee had an anti-social lifestyle, but she was in a normal emotional category. It was noted that the Ko-pandol was a potential Sadist and part of a sociopath.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.417-425
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• 2017

The goal of this study is analysing a box office success of The Handmaiden in terms of modified space-time and character. The movie which has original novel induces desire of watching by decreasing property of experience good of movie based narrative of novel. Contrary to novel that is set in Victorian age, the movie changed contents that make a character who realizes masculine of colonialism and women oppressed by man escape through transcending class by adopting period of Japanese occupation. It hereby decreases negative effect by substituting growth and solidarity of women for the element of homosexuality. Also the gender discussion about crimes against female when the movie was running increases factor of sympathy of characters and accord with subject of the movie. Beside that, The reasons of success are detector, star system of actor, effective public marketing of movie trailer and selection of movie won the award for best picture at a film festival.. Movie through adapting novel enhances ability of various creation and blow up appreciation of spectator. The differentiation of adapted hit movie is that the altered content is creative, has subject that corresponding with universal awareness transcending space-time and expresses property of media effectively.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.399-404
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• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.