#jang dong yoon

the beginning of his chaos.

Beautiful Days (2018)

imagine waking up to this

Beautiful Days (2018)

if he’s the sin then i’ll gladly be a sinner.

03.30.21

joseon exorcist getting canceled is probably the worst news you could’ve given me. i was waiting for this drama for so long…. now, i don’t know exactly where the story failed to meet the historical facts and where it wen’t as wrong as to cancel the drama instead of trying to save it (i’m guessing they just canceled because of the lack of sponsorship so soon into the drama) but i’m lowkey sad and annoyed

cinematography, ep. 1

Joseon Exorcist (2021)

name a more iconic duo i’ll wait

Joseon Exorcist (2021)

one minute in and i’m already creeped the hell out.

Joseon Exorcist (2021)

call me deceased because i am

Recently I’ve been nothing short of obsessed with the Korean fusion sageuk romcom, The Tale of Nokdu. It’s a solid project which is amazing in its attention to detail – definitely worth the watch, and rewatch. Out of the many great fight scenes in this drama, my favourite would have to be the one in Episode 12. A group of female assassins – the Virtuous Women Corps, infiltrate a birthday celebration but are found out. In the midst of the fight, our protagonist Nokdu rides in to help. It’s not very long but the way the cinematography and music comes together never ceases to impress me.

So let’s start with when the women are exposed as assassins. As they prepare the fight, the camera cuts to each woman in turn – a mix of close-ups and medium close-up shots of each drawing their sword.

The tightness of the shot also allows us a good look at their determined expressions. It’s very reminiscent of Chinese wuxia movies – it’s designed to make you understand you’re watching the heroes here.

At this point more soldiers rush in. Observe how the camera is placed low here. Coupled with the diegetic roar of men breaking in, it increases the tension immediately and makes them look more imposing.

Compared to the sense of tightness of the previous shot, we’re suddenly freed into a wide angle shot, with Nokdu riding forward. Because of this contrast, we get a sense of breath and vigour. At the same time, the gallop of the hooves is in sync with the music. Therefore it adds to the sense of urgency in the scene. Nokdu is swooping in to save the day, complete with his gorgeous flowing hanbok.

OK FAVE SHOT HERE. You know what, they really didn’t have to make a shot like this. They could have just had the horse scene, cut back to the fight, and then add in the part where Nokdu glides in (more on that later). But it’s BEAUTIFUL. Bird’s eye angles can be used in a variety of ways, in this case I see it as a transition to connect Nokdu with the greater action.

Also do you note how in the horseriding scene the camera is moving leftwards…and how in this scene it’s still moving left? You can actually FEEL the continuity and seamlessness. There’s a thread tying this entire sequence together from start to end – and it’s completely intentional.

Here we have one long take of the assassins fighting. This is the part that made me want to do an analysis in the first place! You feel like you are in the fight, like it’s happening in real time. It increases the sense that there’s action all-around. Something you would know if they kept cutting, but you can feel more because they did one long take.

Also the camera is unsteady, you’re angling up to look up, you’re angling down when someone falls to the ground. So again, it’s like you are partaking in the action. As an audience, this point of view plays a large part in helping you immerse in what is going on onscreen.

You see that at the end of Ssook’s twirl with the sword, we finally have a cut to a medium close-up short of her. This cut is so seamless you can barely notice it. It draws our focus right in on her, and together with how she delivered her line, it emphasises her strength. The camera didn’t steady itself fully because we’re still in the thick of the action. You could say it’s the unsteadiness that maintains continuity between the long take and this shot.

I will skip the next few seconds to the part where Nokdu slides in. However, I want you to note how many of these shots in symmetry or have some kind of visual pattern. Duo, duo. Two ladies killing a man cut to two ladies killing a man.

Then, at the point where Ssook is cornered, Nokdu slides in. Another beautiful shot!

Here, the camera at a low level again. If it was placed higher, Nokdu’s entrance wasn’t going to be as imposing. Also, the camera tracks forward as Nokdu glides moves in. Again imagine if it was still. You won’t feel the same power as when the camera is moving WITH Nokdu.

Last note, even though I won’t analyse the rest of the fight, the moment right after Nokdu glides in, and says “It’s hot” the entire tone changes. It’s an incredible switch into comedy and the remainder of the fight, the way it’s shot, the bgm, the choreography, all reflect that.

The Tale of Nokdu is, as a friend of mine has pointed out – the little drama that could. It’s a drama that may not be a blockbuster, but is entirely sincere and detailed in its execution.