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It is true that while German Chancellor Willy Brandt in knelt down during his visit to a former Jewish Ghetto of Warsaw, where World War II started when Germany invaded, Japan is often scorned for its lack of remorse and for not apologising for the war crimes it is responsible for. But a recent pubic apology was given to Korean people by Japan for the grave matter of 'comfort women' which has been a stumbling block in diplomatic relations between the two nations.

But films like 'The Wailing' are terrifying reminders that while histories may be repressed, forgotten or simply not passed on to younger generations, the haunting of traumatic memories is transgenerational. Here is an interview given by the director of the movie. I'm Korean and I just finished watching the movie. The danger he faces does not move quickly and makes the big bang, rather it moves quietly and disturbs your scenes. How should I explain such a subtle danger? It's not like "someone stabbing you with a knife" kind of danger.

It's more like "virus infection" kind of danger. When you get infected with Virus, you are fine for a while but the symptoms seep in. As far as casting Japanese, I was just looking for foreign actors who resemble Koreans. He wanted foreinger to signify "foreign" danger. The main character Jong Gu is trying everything to defend against the unknown threat. If you think of war happening at a Castle, You need to get your team in your castle and prevent the enemy from entering the castle.

But how do you know whether someone who wants to enter the castle is the friend or the foe? You must ponder, and have to wonder about it. You can trust some and not trust others. Your Trust faith or Suspicion is on a fine balance. To talk about such a topic. I needed materials to reference. I have been reading the Bible since I was the kid.


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I used the Bible verses and references to show the intention of the movie. Basically, this movie is about a man's desperate attempt to save his family from harm's way. But since he is fighting agaist an evil spirit, it's out of his depth to fight it by himself. He needs outside help and guidance but who do you trust? How do you know? Are they your friends or foe? Do I enter the house or not?


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Foreigner is using the suspicion against him to kill everyone in the village. He is setting baits like fishing. The entrance of the Female Spirit You can think of her as the town spirit who try to save people.. Your enemy the devil prowls around like a roaring lion looking for someone to devour. The girl eating the fish. It does not mean she is Jesus.

After Jesus rose, he ate a fish.

The girl after the illness awoke up and ate fish. She is entering a different person possessed by evil sprit. Exodus Thou shalt not bow down thyself to them, nor serve them: for I the LORD thy God am a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate me;.

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Matthews "72 Immediately the rooster crowed the second time. The good spirit warns Jong Gu to Do not enter the house.

II—The Fire

The Good spirit said I set the barrier around the house to trap the evil spirit and he just has to wait for 3 rooster crows. Jong Gu could not trust her, and broke in after 2. Sometimes we tend to complicate things when in reality things can be explained in very simple terms.

Japanese Overview AoE2

Our original "fathers" did sin against God. Therefore we all are "broken" nevertheless have the freedom to choose between doing good or choose to do evil complete freedom which equates to perfect love. This is what the Angel refers to at the end of the movie. Angels and demons are spiritual beings although it is believed they do take physical form though it is very rare. Demons are also spiritual beings and they can take posession of people's will and body -if- invited in.

Witchcraft and sorcery. The world is the scene of an epic battle between good and evil. People invite evil or choose good every day. Faith answers to God and doubt and fear to the Devil. The Angel fights off the Devil and demons all throughout the movie.

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The Japanese shaman is the devil's subject. He chooses people, prepares the scene, performs the "exorcisms" and when people are tested, they choose doubt and fear and then they are killed or they survive the attacks according to their choice based on freewill. Then the devil's subject and demon moves on to get more souls. At the end of the movie, we see and understand the Devil and evil are real indeed.

Nevertheless, he is unable to take anyone if people hold strong to Faith and what cannot be seen. True and pure love -fidelity to the most sacred covenant between people has a special place at the end of the movie when we see the dad and daughter come together in complete happiness and union.

I feel the possessed daughter is the innocent children in Korean that is still possessed by the Japanese occupation. The Shaman that comes along representing America and Capitalism is willing to exorcize the Japanese evil out of Korea but only for money. The Shaman puts on a Nike track suit at one point representing American Capitalism. The Shaman, however, is in cahoots with the Japanese and if you look at the history of S Korea, it was created by American-backed Koreans who collaborated with the Japanese.

In the end, the Shaman America picks up the photos, the souls of Koreans to follow where the Japanese ended off. Moo-myeong is Korean tradition, the pure form before the Japanese occupation. It is trying to get the father to listen to it, but the father, the older generation of Koreans, is too ignorant and proud to listen. Accepting the honor and privilege of being one of the "beginners of a better time," I caught sight of peerless Fuji and set foot on Japanese soil December 29, Amid a cannonade of new sensations and fresh surprises, my first walk was taken in company with the American missionary once a marine in Perry's squadron, who later invented the jin-riki-sha , to see a hill-temple and to study the wayside shrines around Yokohama.

One of the most interesting characters I met personally was Fukuzawa, the reformer, and now "the intellectual father of half of the young men of Thus were laid the foundations of his great school, now a university. Journeying through the interior, I saw many interesting phenomena of popular religions which are no longer visible. I was surrounded by monasteries, temples, shrines, and a landscape richly embroidered with myth and legend. During my four years' residence and travel in the Empire, I perceived that in all things the people of Japan were too religious.

In seeking light upon the meaning of what I saw before me and in penetrating to the reasons behind the phenomena, I fear I often made myself troublesome to both priests and lay folk. I richly enjoyed this work, which, by questioning and discussion, gave me much insight into the minds of young men whose homes were in every province of the Empire. In my own house I felt free to teach to all comers the religion of Jesus, his revelation of the fatherhood of God and the ethics based on his life and words.

Spiritual and religious aspects of skin and skin disorders

While, therefore, in studying the subject, I have great indebtedness to acknowledge to foreigners, I feel that first of all I must thank the natives who taught me so much both by precept and practice. Among the influences that have helped to shape my own creed and inspire my own life, have been the beautiful lives and noble characters of Japanese officers, students and common people who were around and before me.

Though freely confessing obligation to books, writings, and artistic and scholastic influences, I hasten first to thank the people of Japan, whether servants, superior officers, neighbors or friends. He who seeks to learn what religion is from books only, will learn but half.

Gladly thanking those, who, directly or indirectly, have helped me with light from the written or printed page, I must first of all gratefully express my especial obligations to those native scholars who have read to me, read for me, or read with me their native literature. Kaempfer makes frequent references, with test and picture, in his Beschryving van Japan. Von Siebold, who was an indefatigable collector rather than a critical student, in Vol.

In visiting the Japanese museum on the Rapenburg, Leyden, one of the oldest, best and most intelligently arranged in Europe, I have been interested with the great work done by the Dutchmen, during two centuries, in leavening the old lump for that transformation which in our day as New Japan, surprises the world. It requires the shock of battle to awaken the western nations to that appreciation of the racial and other differences between the Japanese and Chinese, which the student has already learned. The first praises, however, are to be awarded to the English scholars, Messrs.

Satow, Aston, Chamberlain, and others, whose profound researches in Japanese history, language and literature have cleared the path for others to tread in. I have tried to acknowledge my debt to them in both text and appendix. To several American missionaries, who despite their trying labors have had the time and the taste to study critically the religions of Japan, I owe thanks and appreciation. With rare acuteness and learning, Rev.

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George Wm. Knox has opened on its philosophical, and Rev. DeForest on its practical side, the subject of Japanese Confucianism.