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Index of topics:
Introduction: “Light and shadow” (chiaroscuro in painting, photography, and cinematography; chiaroscuro versus tenebrism); “Alchemy of Souls: Light and Shadow” continues to use the visual techniques and motifs that I discussed in my previous analysis of “Alchemy of Souls”
A. The best hero shots from “Alchemy of Souls” Part 1 and Part 2
B. Most beautifully composed shots in “Alchemy of Souls” Part 2
C. Visual motif of fire in the foreground or background with rack focus to depict or reinforce emotional or psychological tension and as part of the drama’s mythology of the Ice Stone and Hwansu (fire and water)
D. Visual motif of fire in the foreground or background, without rack focus, to depict or reinforce emotional or psychological tension and as part of the drama’s mythology of the Ice Stone and Hwansu (fire and water)
E. Visual cues to depict or reinforce unity or conflict; a character’s vulnerability, solitude, or fear; comfort and respite; change, danger, or showdown; 90-degree Dutch angle shots
F. Other ways “Alchemy of Souls” Part 1 and Part 2 use to depict or reinforce emotional or psychological tension: (1) wobbly or shaky camera; handheld shot; examples from AOS Part 1 and Part 2; (2) change in the camera’s viewpoint; editing; example from AOS Part 2.
Introduction:
(1) I posted my analysis of the visuals, cinematography, and editing of “Alchemy of Souls”
In this analysis, I will refer to “Alchemy of Souls” as “Alchemy of Souls” Part 1 or simply AOS Part 1. “Alchemy of Souls: Light and Shadow” will be “Alchemy of Souls” Part 2 or simply AOS Part 2.
(2) “Alchemy of Souls” Part 2 continues to use the visual techniques and motifs that I discussed in my previous analysis of “Alchemy of Souls” Part 1. In this analysis, I will give additional observations of “Alchemy of Souls” Part 1.
(3) “Light and shadow” (chiaroscuro in painting, photography, and cinematography; chiaroscuro versus tenebrism)
In the on-air discussion threads in this sub, some fans have speculated on the meaning behind the phrase “Light and Shadow.” The drama itself, specifically in Ep. 10 during the wedding scene , tells us what “Light and Shadow” mean.
In painting, photography, and cinematography, the phrase “light and shadow” (or light and dark) refers to "chiaroscuro."
From "What is Chiaroscuro in Film? Definition, Techniques, & Examples"
Though chiaroscuro in film was popularized nearly a century ago, modern cinema still venerates its value.
Chiaroscuro lighting is a fancy term, but it’s actually a rather simple concept to understand. In simplest terms, chiaroscuro is the juxtaposition between light and dark.
Chiaroscuro is an Italian term used to describe the technique of using light and dark in artwork, particularly a painting. It originally comes from the Renaissance art movement, and combines the Italian words: “chiaro” meaning “clear” or “bright,” and “oscuro” meaning “obscure” or “dark.” It refers to the dramatic effect experienced when using contrasting areas of light and dark in a visual piece.
In cinematography, the term refers to low and high-contrast lighting, which creates areas of light and dark in films.
Difference between chiaroscuro and tenebrism:
From "What is Tenebrism — The Art of Light and Shadow Explained"
Tenebrism is a unique art term that’s come to be known as a niche lighting style. It is a bold look, mixing brightly light objects with deeply dark surroundings. Thus, making its application somewhat limited to images or scenes that actually call for such a striking juxtaposition.
Tenebrism is a lighting style that’s defined by expressive contrast between light and dark. Tenebrism is derived from the Italian tenebroso, which means “dark, gloomy, or mysterious.” Some art historians refer to this style as “dramatic illumination” because subjects in tenebrist works are often depicted under a harsh singular light source.
Chiaroscuro and tenebrism both focus on the high contrast between brightly lit subjects and darkly lit backgrounds. But the key difference between chiaroscuro vs tenebrism is found in the shadows.
Where chiaroscuro uses its light and shadow to create depth behind the subject, tenebrism goes full black. This creates an extreme separation between subject and setting, which is why it's referred to as the "spotlight effect."
Resources on YouTube: "Chiaroscuro Lighting in Film — Balancing Cinematic Light and Darkness" "Tenebrism Explained -- and how it differs from Chiaroscuro"
A. The best hero shots from "Alchemy of Souls" Part 1 and Part 2
(1) AOS Part 2, Ep. 10, after Park Jin’s “evil and virtue” dialogue:
Jin Mu tries to get Park Jin over to his and the Unanimous Assembly’s side by offering a way of saving Maidservant Kim Do-joo from the wreckage of Jinyowon’s storage room. In probably AOS Part 2’s most memorable line, Park Jin rejects Jin Mu, the King, and the Unanimous Assembly with his rhetorical question, “Evil always does what it wants without stopping. But why is it that virtue always needs to prove itself over and over again?”
When Jin Mu threatens to break the fire bird’s seal , Park Jin twirls his sword, thrusts it into the ground, and walks towards the fire bird . As he disappears from the frame, there's a rack focus: the flames and the wall in the background become out of focus as the sword becomes in focus.
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-cgmpba1zg7eb1.gif
(2) AOS Part 1, Ep. 1, Naksu’s reveal and Mu-deok’s dilemma:
2-A: Naksu, the Shadow Assassin, faces off at the frozen river against Park Jin and over a dozen mage-warriors. The shot pushes in and then arcs around a mysterious figure, who’s revealed to be the beautiful but deadly killer whose enemies’ heads roll when they meet her. She mocks Park Jin and his mage-warriors by asking rhetorically, "Naksu, it’s a beautiful name, is it not?"
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-xk3eqig3h7eb1.gif
While hero shots are usually wide shots from a low angle point of view, my favorite hero shot in this scene of Naksu’s reveal is her high angle profile shot (3rd image below).
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-ualt0387h7eb1.jpg
2-B: Naksu has accidentally soul shifted into Mu-deok’s body; she had targeted someone else. As she’s being escorted by Broker Kim who has sold her off, she becomes confused because she thought Mu-deok is blind. Intending to escape, she stands up on the boat and says goodbye to the men on the boat. (Her low angle shot cross dissolves into a medium shot). She jumps up to the bridge and tries to pull herself up, only to find out that she has no strength in her arms. (Seconds later, unable to hold on to the bridge, she falls, butt first, into the canal.)
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Up until this boat scene, the drama has a dead serious tone. But this scene of Mu-deok falling into the canal introduces the comedy aspect of the drama.
Resources on "hero shot" in cinematography:
(1) From “The Story Behind The Shot: Exploring the movie framing of a ’Hero’”
Heroes demand swathes of space to show that their benevolence is all-conquering, yet the villains of this world fill up a close up with the stinking miasma of degeneracy. It is one of the most straightforward filmmaking techniques, but when it is done right, it holds the simple fist-pumped adulation of reverb riddled power-chord.
In short, it is a shot that speaks of the beauty of cinema and storytelling. It is devoid of all reality in the most euphorically satisfying way. Never in real life could a sports star’s triumph be prognosticated or celebrated with such distilled perfection. There is something uniquely thrilling about cinema’s ability to call the shots of life and punt the fickle workings of fate into the wayside by depicting a hero in a portrait of untold brilliance.
(2) From “Lights, Camera, Action: How Filmmakers Frame Heroes and Villains”
In visual storytelling, how can one best define the differences between a hero and a villain? It might seem like there are a few correct answers, and, well, fair enough.
For sure, things like dialogue, musical themes, lighting, and even costuming can shape how an audience perceives a character’s outlook and objective. Nonetheless, the case can be made that thoughtful, deliberate framing is the most effective way to communicate (or disguise) a character’s intentions and inner life.
Other resources on hero shots in cinematography: “How to Shoot a Michael Bay 360 Hero Shot [Michael Bay’s Directing Style Explained]” “Evil Dead II Features Cinema’s Best Hero Shot”
B. Most beautifully composed shots in “Alchemy of Souls” Part 2
Ep. 10: Park Jin lies severely wounded on the burning hallway after Jin Mu stabbed him . Notice that he’s shot with a dramatic Dutch angle; notice also the various leading lines that focus the viewer’s eyes towards him (or emphasize the subject plane).
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https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-df73vi8oh7eb1.jpg
Studio Binder in its article titled “Rules of Shot Composition in Film: A Definitive Guide”
Leading lines may be straight or curved; they may lead directly to the subject or to the subject plane; they may come from either left or right. Considering that we read from left to right, my personal preference is that they come from the left going to the right.
From “How to Use Leading Lines in Photography”
The Masterclass article explains the four kinds of leading lines and their uses: horizontal, vertical, diagonal, and converging.
C. Visual motif of fire in the foreground or background with rack focus to depict or reinforce emotional or psychological tension and as part of the drama’s mythology of the Ice Stone and Hwansu (fire and water)
Aside from Studio Dragon, two different production companies worked on AOS Part 1 and AOS Part 2 of this drama. Part 1 was directed by Park Joon-hwa alone, while Part 2 was directed by Park Joon-hwa and Bae Hyun-hin. Part 2 continues to use the visual techniques and motifs used in Part 1. One exception is the use of split screens in Ep. 4 when Maidservant Kim Do-joo asks Bu-yeon to try out numerous dresses for the Queen’s banquet; Part 1 does not use split screens, as far as I can recall.
Ep. 2: In a flashback, Lady Jin Ho-gyeong pleads with Master Lee to save her daughter Bu-yeon. Master Lee says that Bu-yeon’s spirit will vanish but her body will live on with Naksu’s spirit. He also says that as Bu-yeon’s body completely heals, however, she will have Naksu’s face . This is revealed in the shot where the lighted candle (frame right, foreground) is in focus while Bu-yeon is out of focus in the background. As the candle becomes out of focus, Bu-yeon becomes in focus. In the next shot, we then see Bu-yeon taking on Naksu’s face as her petrification slowly disappears .
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Ep. 7: The brightly lit candle (frame right, background) is in focus, while Yul is out of focus. As the candle becomes out of focus (and almost disappears from view), Yul becomes in focus.
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-bz1i23n1j7eb1.jpg
Ep. 10: After Jin Mu stabs Park Jin, he, the King, and the Unanimous Assembly leave in haste because of the spreading fire . The embers that fly against a black background cross dissolve into an out of focus image of Park Jin lying on the ground. As the embers in the foreground become out of focus, Park Jin in the background becomes in focus.
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-a6ayenodj7eb1.gif
I posted on imgur all the instances where AOS Part 2 used the visual motif of fire or flames in the background or foreground with rack focus to signify tension, crisis, or danger, and as part of the drama’s mythology.
D. Visual motif of fire in the foreground or background, without rack focus, to depict or reinforce emotional or psychological tension and as part of the drama’s mythology of the Ice Stone and Hwansu (fire and water)
Ep. 3: Bu-yeon follows So-i into a room in the gambling den . As she sees and picks up her blue jade on the table, there’s a lit candle that’s frame right. Moments later, So-i sets off the trap (soporifics) from the ceiling.
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-4wse7ixhj7eb1.jpg
Ep. 7: Jang Uk barges into Cheonbugwan, overcoming all the mages who tried to stop him. But Crown Prince Won blocks his path and appeals to him to stop . Notice that the flames and the fire pit dominate the foreground.
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-upl6njekj7eb1.jpg
Ep. 7: Bu-yeon stands over Yul, who’s in extreme trauma after the blood parasite’s energy surged within him . At the start of the shot, there’s an out of focus lantern in the foreground (frame right); the lantern doesn’t seem to be lit. As the camera trucks (moves parallel) to the left, the lantern begins to exit the screen, revealing a lit candle near Yul.
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-9liw9elnj7eb1.jpg
A poetic or symbolic way of interpreting the scene above: Remember that the Seo family members have their “Lantern of Life” that hang in Seoho Fortress; when the flame of a lantern is extinguished, that signifies that a Seo family member has died. In this scene, I think that the director wanted to depict and reinforce (with the candle lit instead of the lantern) how Yul will die if no cure to the blood parasite is found.
I posted on imgur all the instances where AOS Part 2 used the visual motif of fire or flames in the background or foreground, without rack focus, to signify tension, crisis, or danger, and as part of the drama’s mythology.
E. Visual cues to depict or reinforce unity or conflict; a character’s vulnerability, solitude, or fear; comfort and respite; change, danger, or showdown; 90-degree Dutch angle shots
E-1. “Visual cues” are explained in an excellent series of articles from “My Drama List” by someone with the username “3GGG”:
“Part 1: visual ways to establish a conflict, division, or fight between two or more characters”
“Part 2: boxing to establish a character’s vulnerability, solitude, or fear; comfort and respite; change; danger; showdown”
“Part 3: Dutch angle”
“Part 4 Interpersonal cues (using cues simultaneously or one after another)”
The YT video “The Brilliant Cinematography of Parasite”
I posted on imgur the various examples of how this drama used visual cues.
Ep. 2: At the river bank, Bu-yeon giddily wants Jang Uk to carry her and cast a spell so that they can escape faster . But Jang Uk deflates her giddiness by walking away from her. Notice that their conflict is depicted and reinforced by the dividing line created by the pole that holds the lantern in the background.
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Ep. 3: Bu-yeon stands near the stone tower, unsure if she should energize the blue jade and thus call Jang Uk to her . Notice that she's boxed in by the tree trunks in the foreground to depict and reinforce her emotional and psychological tension.
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-xb7cwfwwj7eb1.jpg
E-2. Similar to AOS Part 1, AOS Part 2 also uses 90-degree Dutch angle shots.
Ep. 2 she fails to prove her powers in turning the light off in the Jinyowon lantern .
Ep. 8 Cho-yeon arrives and tells her about the conflict between their mother Lady Jin Ho-gyeong and Jin Mu over the Jinyowon Plaque .
F. Other ways the drama uses to depict or reinforce emotional or psychological tension: (1) wobbly or shaky camera; handheld shot; some examples from AOS Part 1 and Part 2; (2) change in the camera’s viewpoint; editing; some examples from AOS Part 2.
I posted on imgur the various examples of how this drama used (1) wobbly or shaky camera; handheld shot; and (2) change in the camera’s viewpoint, to depict or reinforce emotional or psychological tension.
F-1. Wobbly or shaky camera; handheld shot; some examples from AOS Part 1 and Part 2
Part 2, Ep. 6: To prevent Jang Uk from taking vengeance against those responsible for Mu-deok’s death , Park Jin imprisons him in Jeongjingak’s secret room. He also finally reveals to Jang Uk that his real father is the late King . The tension in this scene is depicted or reinforced through the wobbly shots of Jang Uk or Park Jin; it’s further reinforced by the low lighting conditions and the flickering of the flames (and of their shadows).
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-vk4rmdq6k7eb1.gif
In this scene, the director and cinematographer use what is called in cinematography as “handheld cam” or “handheld shot.” (Note that even if a camera is “handheld,” the shot can be stabilized through devices or rigs, through the cinematographer’s skill, or through software.)
In this BTS video
From “The Handheld Shot In Film: Our Definitive Guide”
The handheld shot is one of the most commonly used techniques in film. It can be used to show a sense of urgency, such as when a character is running away from danger or chasing after someone they care about.
A handheld shot might also be used to convey anxiety and tension. This could be done by using quick cuts that move around in an erratic pattern to simulate confusion and disorientation.
For example, if someone was hiding from an intruder in their home it would make sense for them to use this technique because they probably wouldn’t know what direction the intruder was coming from so they would feel anxious and tense while looking out for signs of danger all around them.
Examples of wobbly / shaky cam or handheld cam from AOS Part 1:
Ep. 6: Mu-deok meets Crown Prince Won in his quarters (after his attendant mistakenly applies make-up on her and dresses her up in silk clothes with accessories) . Later, as she walks out of the palace to go to Chwiseonru, you’ll notice that the camera is wobbly or shaky When she turns a corner, we then see Gil-ju and another Cheonbugwan mage watching her from afar. (In Chwiseonru, Gil-ju finally confirms that Mu-deok is Naksu.)
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-7evftcxck7eb1.gif
Ep. 7: Mu-deok thinks that Gil-ju shifted his soul into Jang Uk’s body . Sensing a man coming towards her, she grabs a sword and threatens the man who turns out to be Jang Uk . The emotional and psychological tension in the scene is depicted and reinforced by the wobbly or shaky camera.
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-1jf6wbtfk7eb1.gif
F-2. Change in the camera’s viewpoint; editing; example from AOS Part 2
Ep. 7: Bu-yeon reaches out and touches Yul as he lies on the table, fighting for his life as the energy from the blood parasite surges within him . Notice that in the first image, Bu-yeon is frame right and looking to the left (our perspective). In the succeeding shot, she is frame left and looking to the right (our perspective).
https://preview.redd.it/alchemy-of-souls-light-and-shadow-comprehensive-analysis-of-v0-8caex6fsk7eb1.jpg
Note that directors create the “shot list” based on the screenplay; they then stage the scene and block the actors. Based on the shot list, cinematographers decide how best to light the scene, what lens to use, etc. Cinematographers do what is called “coverage,” that is, they shoot a scene from various viewpoints, various shot sizes, etc. The editor then takes the footages, decides what to include or exclude and in what in order to create a coherent narrative (hopefully) based on the director’s artistic vision.
From “What Is Film Coverage: Step-By-Step Guide”
For those new to film production, coverage is the process of filming multiple angles, shots, and performances of a scene.
It’s called coverage because it covers all the necessary elements required to edit the scene together in post-production.
In television, coverage is considered standard practice as scenes are often shot out of sequence on a tight shooting schedule.
Coverage ensures that there are enough options available in the edit for the editor to put together an interesting and engaging version of the scene.
For independent filmmakers, it’s not always possible to get extensive coverage due to scheduling constraints, budget, or even just not knowing how to do it.
But if you’re working on something with more time and resources available then getting good coverage will make your life much easier in post-production.
From “A Beginner’s Guide to Shooting Coverage for a Film Project”
“Coverage” is a deceptively simple term that encompasses a wide range of factors — how to stage, block, light, and capture a film.
“Coverage refers to the order and method of shooting a scene. “V Coverage” — so-called due to the layout of the cameras from a top-down perspective — means shooting a wide or master shot of the scene, then getting close-ups on each character for their lines. This method is used in probably 80 percent of two-person dialogue scenes.
Even in this simple setup, there are several factors to consider — each one makes a difference in how you shoot the scene and how it’ll look in the final edit. Do you shoot your wide shot first? This gives the actors a couple of takes to get into the scene and warm up. But, if it’s an emotional scene, they may burn out before you get to their close-up. Do you just shoot the start and end of the scene in the wide? If so, will the final part of the scene suffer because the actors won’t be in the same emotional state as in the close-ups?
Some directors do not like coverage; for example, Yorgos Lanthimos who directed the award-winning 2018 movie “The Favourite.” In an interview, he says that he hates coverage. This means that even before filming of “The Favourite” started, he already had a firm vision of what his film would look like, shot by shot, scene by scene.
Acclaimed director Kogonada said that in working on his 2017 film “Columbus,” he, the cast, and production crew only had 18 filming days. And so, he and his cinematographer planned out how to shoot the film without too much coverage.
Resource: "Why you should film LESS coverage"
Notes:
(1) As I have noted in my previous discussions, I am a photographer, not a cinematographer or even a film student. Those of you who have better understanding of cinematography should feel free to correct inaccuracies or errors in this analysis.
(2) This discussion is a bit long and at times quite technical. If you got tired reading it, you can energize yourself by listening to Band-Maid, an all-female Japanese band that mixes genres such as rock, metal, pop, jazz, and blues. Listen for example to “Freedom” “Daydreaming” “Wonderland” “Blooming” ”Choose Me”
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![r/KDRAMA - tvN 'Alchemy of Souls: Light and Shadow' Teaser Poster [Premieres December 10]](http://web.archive.org./web/20240425221413im_/https://i.redd.it/x2rjp45vh3z91.jpg)
![r/KDRAMA - tvN 'Alchemy of Souls: Light and Shadow' Teaser Poster 3 [Premieres December 10]](http://web.archive.org./web/20240425221413im_/https://i.redd.it/wgvxfefoe93a1.jpg)
