Abstract
This study categorizes the elements that can serve as metaphors in two films, Snowpiercer and Okja, according to three characteristics and compares their details. The meanings and roles of metaphors can be explained as a ‘combination of different symbols,’ which causes a change of thought and the expansion of reason in the course of identifying the nature of a subject relative to that of another; and the ‘generation of a new meaning,’ which forms a new context and meaning through the mutual relationship between two concepts. The cinematic background and development in these films are a ‘conflict caused by an ecological crisis’ and ‘capitalism and exploitation of life, respectively .’ These act as the main reasons the characters experience extreme conflict, irrationality, and violence in the films. This study categorized the key metaphors in the films according to three characteristics and conducts a comparative analysis of each subject considering these characteristics. With regard to ‘metaphors as the act of resisting reality,’ the actions of characters become the main expression of resistance against unreasonable reality. They are the ‘door opening’ in Snowpiercer, the ‘door crushing’ in Okja, ‘rushing’ in Snowpiercer, and ‘running’ in Okja. For ‘metaphors as crisis-solving objects,’ objects appear as the means to break through the crisis and as the purpose of mutual trade. They are the ‘light of a match’ in Snowpiercer, the ‘black box’ in Okja, ‘Kronol’ in Snowpiercer, and the ‘Golden Pig’ in Okja. For ‘metaphors as a status-recovering message,’ living nature and life appear after the resolution and clearing up of the crises in the films. These are the ‘eyes’ in Snowpiercer, ‘persimmons’ in Okja, the ‘polar bear’ in Snowpiercer, and the ‘piglet’ in Okja. Differences due to the details of cinematic development and context could be found even with common metaphors. By using metaphors, films can be interpreted from various angles and the films overall and details can be viewed in a multi-layered, rich context.
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