Colors of the Sun: A Trilogy

For example, in CW Ehwa finds her friend Chungja out late one night, sobbing at the base of a tree. Ehwa congratulates Chungja on her upcoming marriage, certain that these are happy tears. Chungja then explains that her marriage was arranged with a nine-year-old boy, and that she must live with her young husband and his grandmother to care for them and learn the ways of their household. Her mother assures her that she would not let that happen to Ehwa, even if the bidder was wealthy a promise she does keep , and that she would find a husband that Ehwa would like, or if Ehwa likes someone, she would like them too.

Along with the characteristics of RC1, the new or alternative perspectives offered in the Color Trilogy help expand the boundaries of what can and should be considered valuable and important literature for youth.

Three Colours trilogy - Wikipedia

They would also likely be intrigued by the beautiful rural countryside and fascinated with Korean courtship practices and wedding rituals. By the same token, they might be puzzled by and uncomfortable with the strict patriarchal society and the sexist attitudes displayed by some of the adult males, and they would almost certainly be disturbed by the notion of an old man trying to buy a young girl as a bride, a fate from which Ehwa is saved by her protective, strong-willed mother.

CE , for instance, opens with the image of two beetles copulating—and two young men commenting lasciviously about the scene. Soon the two boys are engaging in a peeing contest and asking Ehwa to show them her gochoo literally, a chili pepper, but also a slang term for penis.

The book suggests that young people a hundred years ago were just as fascinated by bodily functions as young people are today—although contemporary readers might be surprised at how little change there has been in some aspects of growing up.

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From the copulating beetles on the opening pages to the implicit comparison of a penis to a gochoo , to the description of the female and male versions of the ginkgo tree and the erotic nature of the gourd flower that opens only at night, the book is filled with sexualized images of the natural world that parallel the sexual feelings of the characters, both young people and adults. Early in CE , seven-year-old Ehwa compares body parts with her mother while she is bathing.

Ehwa, after her disturbing conversation with the urinating boys, is concerned about not having a gochoo. Highly imagistic, these scenes intercut between the two lovers and visual metaphors such as waves crashing, the sun beating down, Duksam plunging into a pool of water, a dandelion being blown apart by the wind, butterflies fluttering, and so on.

The highly charged, erotic scenes of the young lovers are also intercut with highly comical scenes of an old man trying to make love to his wife.

What Color is the Sun?

The juxtaposition of scenes with the young lovers with those of the old lovers adds a layer of complexity to the way love and sexuality are depicted in CH , alternating in this case between the sublime and the ridiculous. By presenting these two love stories in parallel, Kim deepens and enriches the effect of each.

In many ways, the most compelling love story told in the Color Trilogy is that of the mother-daughter bond. The characterizations of Ehwa and her mother are thoughtfully and convincingly delineated. At times, they are best friends, such as when they discuss their love interests.

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And at yet other times, the relationship is more one of mentor-mentee: Not surprisingly, the two women experience complicated, bittersweet feelings about being separated from each other when Ehwa gets married. Expanding the boundaries of what is and is not considered appropriate for young readers may meet with objections on the part of parents and other adults, especially when the boundaries being expanded have to do with sex and sexuality.

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In fact, along with John S. Simmons, she coauthored School Censorship in the 21st Century: It is also quite possible that what these adults find most objectionable is the visual depiction of sex and sexuality, which circles back to our earlier discussion of the multiliteracies reflected in and facilitated by these graphic novels. In any case, it is clear that the three types of Radical Change are closely interwoven throughout these books, offering a reading experience that fosters connectivity, interactivity, and access.

Through the coming-of-age story of a young girl in early twentieth-century rural Korea, Kim creates synergy between words and pictures RC1 , introduces new perspectives RC2 , and expands thematic boundaries RC3.

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In so doing, he encourages the kind of interactive, thoughtful, engaged reading that Dresang argued was facilitated by Radical Change books. Wilson, , 19, 24, The English-language three-volume set, published in , was translated by Lauren Na. More information can be found in this interview: The Invisible Art New York: William Morrow, , History, Theme, and Technique, ed. Independents and Underground Classics , ed. Kim and Chungmoo Choi, eds. Gender and Korean Nationalism New York: Routledge, ; Yung-Chung Kim. A History from Ancient Times to Seoul: Ewha Womans University Press, In an interview, Kim addresses this by stating he wanted to have the contrast and friendship there to show different ways in life and to show the uniqueness of Ehwa, but not to say whether Bongsoon or Ehwa was necessarily better or worse than other.

Simmons and Eliza T. Dresang, School Censorship in the 21st Century: International Reading Association, Your email address will not be published. Notify me of follow-up comments by email. Notify me of new posts by email. The Radical Eliza T. This entry was posted in Eliza T. Dresang Memorial Issue , Volume 5: January and tagged eliza dresang , radical change theory , Radical Change: Leave a Reply Cancel reply Your email address will not be published. Wordpress Hashcash needs javascript to work, but your browser has javascript disabled. Blue, white, and red are the colours of the French flag in left-to-right order, and the story of each film is loosely based on one of the three political ideals in the motto of the French Republic: As with the treatment of the Ten Commandments in Dekalog , the illustration of these principles is often ambiguous and ironic.

If the money had been of a different nationality we would have titled the films differently, or they might have had a different cultural connotation. But the films would probably have been the same. The trilogy is also interpreted [1] respectively as an anti-tragedy, an anti-comedy , and an anti-romance.

A symbol common to the three films is that of an underlying link or thing that keeps the protagonist linked to their past. In the case of Blue , it is the lamp of blue beads, and a symbol seen throughout the film in the TV of people falling doing either sky diving or bungee jumping ; the director is careful to show falls with no cords at the beginning of the film, but as the story develops the image of cords becomes more and more apparent as a symbol of a link to the past.

In the case of White the item that links Karol to his past is a 2 Fr. In the case of Red the judge never closes or locks his doors and his fountain pen , which stops working at a crucial point in the story. Another recurring image related to the spirit of the film is that of elderly people recycling bottles: In Blue , an old woman in Paris is recycling bottles and Julie does not notice her in the spirit of freedom , in White , an old man also in Paris is trying to recycle a bottle but cannot reach the container and Karol looks at him with a sinister grin on his face in the spirit of equality and in Red an old woman cannot reach the hole of the container and Valentine helps her in the spirit of fraternity.

In Blue , while Julie is searching for her husband's mistress in the central courthouse, she accidentally steps into an active court trial and is immediately turned around by security. While Julie is peeking into the courtroom, Karol from White can be heard pleading to the judge in a scene that begins his chapter of the trilogy. Each films' ending shot is of a character crying. In Blue , Julie de Courcy cries looking into space.

In White , Karol cries as he looks at his wife. In Red , the judge Kern cries as he looks through his broken window out at the camera. Many main characters from Blue and White , including Julie and Karol, appear at the ending of Red as survivors of a ferry accident.