One thing that I’ve noticed time and again in Korean cinema, especially when I began to discover it many years ago, was the use of rain. What struck me about it was its prevalence but most of all its impressive depiction on screen. The first point is mostly due to the climate in Korea, which shares more with the wet climes of my native Ireland than Hollywood’s perpetually clear and balmy days. The latter comes down to a keen appreciation on my part of the aesthetic and technical brilliance of the nation’s film industry. Of course there’s also more to it than the above points, which are merely practical.
‘Pathetic fallacy’ is a term used to denote the attribution of human emotions to inanimate objects. In poetry and literature, as well as in film, it typically references the metaphorical use of nature. Rain is one of the most frequently used devices for pathetic fallacy used in art or media and in cinema it works particularly well due to its heavy physical presence and its potential to heighten the mise-en-scene through visual and aural means. But in Korean films it has been brought to a new level as just about every important Korean work of the last 15 years has featured an important scene whose staging and emotional impact have been amplified by rainfall.
