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Yu Hyun-Mok is positioned as a representative intelligent film writer of Korean film industry. His status as a film auteur is originated from literary film. He established the world of works by appropriating themes of literary works as film language. As a displaced person and protestant, he internalizes the anticommunist ideology by experiencing the violence of water in daily life. Thus, his anticommunist ideology is not just originated from policy, but similar to his belief system. Anticommunism was not only the ruling ideology of the Park Chung-Hee regime, but also internalized by the national voluntary agreement. specifically, this study is intended to demonstrate the theme related to anti-communism with the comparative analysis of narration throughout the author's original novel. This paper considered the characteristics of anticommunist films shown in the process of media change, targeting Yu Hyun-Mok's novel <Descendants of Cain>, <Flame>, and <Rainy Days>. Yu Hyun-Mok focuses on the faithful reproduction of original stories. He visualizes the healing of wound from war through the chaotic time/space right before war in <Descendants of Cain>, through the humanistic and proactive subject in <Flame>, and through shamanism in <Rainy Days>. Regarding the appropriation aspect of films, owing to the set-up of genre as anticommunist film, the anticommunism is strengthened compared to the original. Anticommunist films desired by policy have the schematism expressing inhumane communists, which violates the artistry. Even though Yu Hyun-Mok's anticommunist films aimed to overcome the schematism through literary films, they still follow the schematism of anticommunist films of expressing inhumane communists.

Anticommunist Film, Anticommunism, Dramatization, Literary Film, Yu Hyun-Mok, Inhumane Communist, <Descendants of Cain>, <Flame>, <Rainy Days>