• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.2 s.2
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• pp.25-30
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• 2005

This study is to research the symbolism of the Eastern and Western costumes' color in films. Therefore, I chose movies about colors, which are 'Trzy Kolory', a Western movie directed by Krzysztof Kieslowski and 'Hero', an Eastern movie directed by Zhang Yimou. The purpose of this study is to figure out the symbolism of the common colors shown in both movie which are red, blue and white. Also, by comparing the eastern and western color symbols I studied the ambivalence of colors. Therefore, the comparison of the eastern and western color symbolisms are as the followings. The color red symbols charity in the movie and jealous, hatless, lies, expansion, self esteem, resist, struggle and sadness in the movie . The color blue symbols freedom, lost, gloomy and sadness in the movie and sacrifice and sadness in the movie . The color white symbols equality and emptiness in the movie and true love, sadness and sacrificed love in the movie . Consequently, it appears that the colors symbolize differently in the East and the West. Three series of which is the West movie has more positive meanings than the Eastern movie. Therefore, the meanings of symbols of the costumes' color are different in the East and West as they have different cultures, and also they could be expressed differently by the directors intention.

• Trans-
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• v.4
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• pp.65-86
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• 2018

In this paper, I chose one of various agenda for life in a philosophical film world view and explored the core of dialectical relation between free will and responsibility. Freedom and responsibility, Existential and inferiority, etc, The conflict of humanity on the crisis of faith have been A comparative study based on the discussions of East Asian religious philosophy and Western philosophy. Including compare the three commonalities and differences with Jean Paul Sartre's 'subjectivity ideology due to the existence of free will' on existentialism in contemporary Western philosophy and The theory of the 'moral autonomy originating in the good will' of the Enlightenment philosopher Immanuel Kant and Concept of 'consciousness' of the life essence of Keiji Nishitani Based on the analysis of the film. In addition, the problem of free will in the viewpoint of nature, along with the individual's point of view, is comprehensively supplemented by the idea of the "nothingness" of the philosopher Zhuang Zhou. A selection of the Polish film Dekalog: Eight and make a basic conclusion of the final by argumentation and analysis as a case of the dialectical relation between the free will and responsibility.