The film Oldboy Study Paper.

Filmmakers are known to have a seemingly unending love affair with cities around the world. In fact, it is so much that cities have occupied the center-stage and become starring characters in various films. Some films rely on the specifics of numerous cities to develop the story and its themes whereas other films rely on the specifics of a single city. P. Chan-wook’s
(director) work is a good case of a film relying on the specifics of a single city and teems with
shots in a city, which reflects general urban settings. This ends up making it almost impossible
for some viewers to tell which exact city. As evidenced below, the technique used to make
various scenes also means the film successfully conveys its message.
This paper outlines the formal aspects making up Chan-wook’s film by describing the manner in
which scenes were shot to achieve different effects. The film Oldboy Study Paper.

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Main
The film Oldboy revolves around a man (Oh Dae-Su) who was in jail for about 15 years
apparently without explanation (IMDB web). He embarks on revenge mission on persons who
put him there. Depicted as a mediocre person who had a daughter and a wife, Oh Dae-Su was
kidnapped on the way home. Upon waking up, he realized that he was imprisoned in a sealed
room. He saw television news saying his wife was killed and the suspect was himself (Dae- Su)
for having been missing for a year. It was at this time he decided to seek retribution on those who imprisoned him, and upon release from jail, the immediate scenes revealed his determination.
For instance, he visited a Japanese restaurant and met Mido (a sushi cook) gave him a live
octopus to eat. The scene of Dae-Su eating the live creature may seem brutal but also shows his
determination for vengeance and rage after being jailed for 15 years. The film Oldboy Study Paper.
The film’s shots were made in Seoul in South Korea. This city is the second largest
metropolis around the world and has a population of approximately 10 million persons – about
23 million people in its metropolitan area (Lonely Planet web). One can say that this city is
solidly packed into a metropolitan region that is vibrant, and acts as a popular destination for
tourists. Repeatedly, the city has been described as a place of congested traffic, brightly lit new
skyscrapers, bustling entertainment districts as well as a distinct Korea’s feudal history (Lonely
Planet web). Nevertheless, a viewer of Chan-wook’s film without some knowledge of Seoul
would not be in a position to ascertain where and how the scenes were created. Contrast to
expectations of modern Seoul infrastructure, Chan-wook does not provide viewers with wide,
aerial establishing scenes/shots or major landmarks for that matter. Most likely, the director
knew that inclusion of major landmarks defining Seoul would give away the identity of the city
in which shots were created all of which deprives of viewers any scenes revealing the
identification of the city. Such a tactic proved effectual in director’s efforts to present the
detailed revenge game making up the film.
Worth noting is that the rather complex network of buildings enables the director to
symbolize a game that took almost half of Dae-Su’s lifetime to plan and execute. The film Oldboy Study Paper. Only us such
an expansive city could a person remain in captivity for 15 years. In comparison to the picture of
crowded Seoul (or any city) as viewers expect, Chan-wook seems wise by not showing a
crowded city. This evidences that the director did not choose the city of Seoul for its location geographically. Rather, Chan-wook wanted to shoot scenes that would not only supplement the
plot but also develop the chief character, Dae-Su. Altogether, the physicals setting and scenes
created in this film changes its main character including his journey of isolation and confusion
and ends up giving audiences a visual materialization of his inner feelings. The film Oldboy Study Paper. Without a doubt, the
director intended to present a moving film, and thus achieving the goal.
Throughout this film, the main character transformed from a jovial salary-man to a man
preoccupied with retribution during his captivity in a small room, decorated as an apartment.
Worth noting is that the mise-en-scene in this apartment jail is striking. The director managed to
create scenes of contrasting amber and green lighting to generate the feeling of an unusual,
contrived space. The shots also contributed to the general feeling of cold worthlessness, which
accompanied Dae- Su during his time in jail. In addition, the shots showing the apartment
marked the beginning of watchful utilization of bleach bypass method by the director in the film.
This represents a post-production method that originated out of conventional film darkroom. The film Oldboy Study Paper.
Throughout the processing stage, the director skipped the bleaching step leading to black and
white shots over the color image. As the director of the film noted, the technique not only gave
way for some remarkable contrast and lower saturation in shots but also imparted a blue-green
tone over this film (ASC). The tone in the shots was time and again bettered using green gels as
well as costumes and backdrops that were carefully selected to express the intended appearance
of unreal post-bypass. The result is that most shots in this film seem to have strong greens,
purples and reds as the dominant colors.
Through past reviews, it has been noted that the understanding and detail of the
apartment in which Dae-su was jailed are what make it quite disturbing – further underlining
director’s success in portraying the image or theme of revenge as intended. It can be seen that someone unknown to the viewers has gone to lengths to design the room or space specifically for
Dae- Su to hold him and ultimately destroy him. For instance, the shots are made to reveal the
busy print wallpaper as well as different pieces of art such as the grotesque and demonic sketch
of a madman watching endlessly as the years pass. The film Oldboy Study Paper. In fact, Dae-Su ended up resembling the
madman as his look in the film revealed. The director also revealed the pain in Dae- Su by
showing shots of a fake window holding a backlit depiction of a windmill in the field all of
which give viewers an artificial suggestion to the natural globe – ultimately a joke made at his
(Dae-Su) expense. In the entire shots, a viewer is left as mystified as he can be about the motive
for Dae- Su’s captivity and what his future holds. Worth noting is that director’s camerawork
manages to hide everything from viewers including placing them behind Dae-Su as well as
positioning them outside the room or apartment as a reviewer of each moment of Dae-Su’s
captivation. As an example, different shots in the apartment reveal rearrangement of the furniture
thus conveying the passage of time (Hunt and Wing-Fai 77). In addition, a montage of news
happenings on Dae- Su’s analog television set communicated the passage of time. In sum, as
revealed through different shots, the setting had a profound effect on the prisoner and the sight of
him attempting to destroy the room by punching the walls in search of escape evidences
destruction from the inside. Self-inflicted abuses including attempts to end his life made him lose
interest in his old life. In essence, the director managed to give the picture of a frustrated and
possible depressed man who cannot understand the situation he found himself. Undoubtedly, he
is a different man driven by yearning for freedom to carry out revenge.
Chan-wook employed shots of urban space in the film to gently reveal his story and
sustain a condition of confusion and awkwardness often shared by viewers and the protagonist.
Through this, the director managed to generate the feeling of inclusion among viewers. This included the dark presentation of the apartment confinement and the freedom of space evidenced
by a green field in which Dae- Su found himself upon release. Worth noting is that in the same
manner Dae-Su breathed in the relief of the freedom (natural light and open space), the shots in
this scene make viewers desert the rather depressing imaginations. Director’s camera then
portray that he (Dae-Su) is on an unkempt rooftop bordered by unoccupied apartment
constructions. Whereas the shots show Dae- Su as largely untroubled, they reveal that a man
about to commit suicide by jumping to his death accompanies him. The shots also show the
constructions of Seoul stretching out in the distance and blending into the horizon. Viewers
know that the prisoner has been freed but has mental and physical scars that separate him from
the city. The director’s intention was to generate the effect that Dae-Su is a different person
altogether.
The mind game that landed him in jail was not yet over as he continued to search for
retribution and the city became his new prison. Such contradicting scenes were used in this film
to confuse a viewer and keep anxiety high. In addition, the contradiction of Dae- Su’s freedom
was underlined by the absence of human-human relationships following his release from jail. In
fact, he were presented as a social misfit – only communicated with those directly involved in
director’s game. For instance, he descended into a city unusually absent of activity thus
generating cold feeling among viewers. Intimate residential constructions and downtown streets
in the film were all equally mysterious because Dae-Su was there alone to search himself. The
changes in Dae-Su were also reflected in this film by inclusion of urban scenes that are rather
unnatural with their blue and green tones. In addition, many outdoor shots appear full of
vegetation that fails to add normalcy and rather ironically highlighted the natural life desired by Dae-Su. Often, centered or placed alone on the screen, Dae-Su does not fit the society any more
making viewers relate to his unending search. The film Oldboy Study Paper.

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The different scenes are evidence of many shots depicting city streets as well as the
intensity of quest for retribution by Dae-Su. He is quite determined to underrate revenge for what
he sees as unwarranted suffering in jail. Some scenes also reveal non-urban spaces used to offer
contrast as well as convey different aspects of Dae-Su’s mental state (Chi-Yun and Stringer 115-
121). As mentioned earlier, he is a disturbed man and his time in jail destroyed (mentally and
physically) him. He is no longer the same individual and his perception of the world around him
is different altogether. The scenes show a flashback to a school Dae-Su attended while young as
well as a troubling occurrence he witnessed then. The shots in this instance are portrayed in sepia
tones that are light to insinuate a past event and to portray the haze of remembrance. It must be
noted that in these shots, the absence of any form of activity is not because of Dae-Su’s
loneliness of mind. He is deep thoughts trying to recall a specific occurrence and is only
interested in bringing to mind actions of those involved. Here, the director work appears
calculated and avoids making viewers lose interest. In essence, the story in this film maintains its
goal of building the character who is interested in carrying out revenge. In sum, director’s
tendency to isolate the key characters of this scene in the rural space conveys the significance of
Dae-Su’s remembrance. The film Oldboy Study Paper.
Shots showing a trip up a maze of stairs represent the challenge of solving the mental
problem of forgotten memories. In turn, the viewer observes Dae-Su watching young siblings in
a prohibited, illegal moment making him emerge as an intruder and perpetrator for the first time
in this film. In this scene, the director manages to provide a picture of Dae-Su that has been
missing from viewers all the time. The image prior him watching the young siblings in a private moment was rather positive, and one could not have associated Dae-Su with voyeurism. The
memory at the school offers an insight to Dae- Su’s role in this intricate revenge game. Scenes of
Dae-Su with hands on his head are displayed in a rather crowded frame. Rather than crowding
the frame with people, Chan-wook crowded his frame with vegetation and buildings further
emphasizing the isolated state in Dae-Su’s mind. In addition, it also conveyed the busy confusion
of his mind because he is unsure if sharing his secret was the right choice. The general picture
that emerges is of an individual whose life is different, a person who no longer fits the society.  The film Oldboy Study Paper.In
fact, one can construe that Dae-Su is at pains and unable to develop any meaningful human-to-
human relationships.
Following his revelation of the fact of his connection with Mi-do, Dae-Su is once more
destroyed emotionally and mentally. The two are siblings and expectedly this did not go well
with Dae-Su after knowing this. The director manages to change the setting to reflect such a
twist. For instance, the subsequent scenes lack narrative explanation of the reason behind it or
the manner in which they have travelled and the characters (including Dae-Su) now appear in
almost mystic, snow-covered beings. Most likely, the director intended to make the setting have
such stark contrast that the shots were made in a different city altogether. The snow-covered
characters indicate a different, snowy place other than Seoul. There are two scenes in this film
involving the lead character spread out on the floor in an open field indicating a temporary –if
wishful – clarity of mind. Dae-Su has been through tribulations, and viewers know that this man
is troubled even after his release from jail. In another scene, the shots reveal a field of white
snow. This seems a ploy by the director to confuse viewers and make people believe that Dae-Su
is past (mentally) his troubles. However, the subsequent scenes portray him alone making keen
viewers realize that the man is still in distress. Nevertheless, S. Zacharek (web) notes that it is fitting for the film’s coda to happen in the forest covered in fresh snow. This is because such a
setting can speak equally of despair as well as new beginnings. In fact, the puzzle in this film
goes all the way to its conclusion and it is unclear form Dae-Su’s self-conscious smile whether
he managed to erase the memory. It is difficult to say Dae- Su that overcame his tribulations
because Chan-wook leaves the version of his look to his viewers. The film Oldboy Study Paper. The final scene can be
interpreted as the only wide setting shots in this film as it shows Mi-do and Dae-Su with their
backs facing the viewer. However, the scene also emerges separate from the Dae-Su’s world at
the beginning of the film. In total, it appears they are together as they embark on a future of
possible despair or promise – represented by the expansive mountains in the backdrop.
In conclusion, the film is a masterpiece as evidenced in this discussion. What is more,
each space – both urban and rural – is included in this film to help viewers understand Dae-Su’s
emotional journey. He is a troubled man and his experience in jail has created a different person
altogether. From his relationship with the daughter – particularly on her birthday – to a man
determined to perform revenge, viewers get the picture of a changed person. Indeed, life events
including imprisonment can change a person’s mind. Nevertheless, in this film, the director
employs urban space as a characteristic of mise-en-scene that, together with props, costumes,
motion, lighting and creative camera work, non-verbally explains a quite complex character in
Dae-Su. It also ends up demonstrating the power of surroundings on the human consciousness.
Change of environment has transformed Dae-Su forever, and his thoughts are quite different. The film Oldboy Study Paper. In
sum, viewers from all over the planet are likely to respond positively to this film especially
because one does not have to depend on familiarity with South Korean customs and geography.
Indeed, the film emerged victorious in Cannes Grandprix in 2004 (Segrave 42-47).
Subsequently, this film has been released in dozens of countries further indicating its success. Possession of such knowledge could make a viewer drift into greater comprehension of this film
– something the director probably did not want viewers to know. Indeed, the film is a mind game
and a puzzle that goes to the end leaving viewers confused altogether. The theme (for instance
confusion, revenge and desire) contained in this film are universal and enables viewers to relate
with it. With ease, the director then manages to impart his message on how different events and
environments can change an individual. Altogether, humans live in a world that is cruel and
unforgiving as Dae-Su witnessed.  The film Oldboy Study Paper.Just like we never get to know why he was jailed, Dae-Su’s
life is without a doubt different and it is safe to say he never recovered.

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Work cited

Chi-Yun, Shin and Stringer, Julian. New Korean cinema. New York: New York University
Press, 2005. Print.
Hunt, Leon and Wing-Fai, Leung. East Asian cinemas: exploring transnational connections on
film. New York: I.B. Tauris, 2008. Print.
IMDB. Internet Movie Database – Filming Locations for Oldboy. 2014. 18 Jun 2014.
<http://www.imdb.com/title/tt0364569/locations>
Lonely Planet. Seoul Travel Information and Travel Guide – South Korea. N.d. 18 Jun. 2014. The film Oldboy Study Paper.
<http://www.lonelyplanet.com/south-korea/seoul>
Segrave, Kerry. Foreign films in America: A history. Jefferson, NC: McFarland & Co, 2004.
Print.
Zacharek, Stephanie. Thunder out of Korea. Salon. 25 Mar. 2009. 18 Jun 2014.
<http://dir.salon.com/story/ent/movies/review/2005/03/25/oldboy/index.html> The film Oldboy Study Paper.