The aim of this paper is to figure out the mechanism that how can be shown the view point of novel in the film. Choi Yoon’s novel There Is Falling a Petal Silently (1988) is shown crossly from the three types of point of view. First, ‘the plural-first person point of view -narrator’s description’ of ‘We’ who were searching for disappeared friend’s sister after ‘Gwangju Democracy Campaign’ described ‘the day’ in the novel. Second, ‘the first person point of view-an interior monologue’ of ‘She’ who has gone mad because of ‘Gwangju Democracy Campaign’. Third is the ‘character narration’ that is observing ‘the man’ who is changed meeting ‘She’. This paper analyzed the strategy of narration embodying the subject by changing of the view point divided into three types of view point each chapter.
Through theses three types of view point, the theme is embodied that today’s readers have only a distant about ‘Gwangju Democracy Campaign’, even if there is a intent which makes readers closely to the problems of ‘Gwangju Democracy Campaign’. This novel’s subject is the ‘difference of the view point’, so the dimension of the view point is fairly important when we discuss this novel.
There Is Falling a Petal Silently is cinematized, A Petal(1996), by Jang Sun Woo. This paper is going to observe that how the film adapted three types of view point and how that related the subject of the original novel.
The novel is divided into 10 chapters but Jang Moon Ill and Jang Sun Woo’s scenario has 138 places.
At first, this paper focuses on the distant of three types of view point and find out the meaning by seeking the relations between Mise-en-Scene in film.
At discussion of the view point, novel can be told by two factors which are ‘who is teller’ and ‘who is watcher’ but in the film, novel’s narration is divided into visual point and auditive point. And we will discuss the phenomenon because of this difference.
Next, we will discuss difference between novel and film from the Jang Sun Woo’s view of the world which interpreted Choi Yoon’s work.
For this aim, we tried to track ‘the distances’ between figure and figure, and reader and author. Also we did approach that how can be accepted the problem of ‘Gwangju Democracy Campaign’ based on this novel in the film and novel’s text by reader.
Finally, novel and film’s text, progress using ‘close the distance’ and ‘make the distance’ crossly, makes reader recognize that the ‘Gwangju Democracy Campaign’ is their problem but they have distance sentimentally and timely from ‘Gwangju Democracy Campaign’.
Although it is shown by dividing into each chapter in novel and on connectivity in film, this paper finds out that both film and novel are shown the subject of reader’s sentimental ‘distance’ about ‘Gwangju Democracy Campaign’ through the discussion of it’s view points.