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The purpose of this paper was to examine the South Korean screenwriter Shim Hun’s world of scenarios as part of a study on South Korean screenwriters. To date, studies on Shim Hun have largely focused on his aspect as a novelist and his life story. Because he has more commonly been known as the writer of the novel <Sangnoksu> more in-depth studies and their accumulation are necessary in view of his life’s legacy and the value of his remaining works in the country’s film history. Although some studies that paid attention to his scenarios achieved their own fruition, they focused on either researching his narratives and subjects within the correlations of literature and films or identifying the meaning of cine-novels in terms of their origin. Therefore, this study intended to connect his biographical records and the transition process of his works, which inevitably become more important in the absence of films or other records from the era of Shim Hun, and to focus on the coherent characteristics that encompass his overall scenarios. From this viewpoint, this study also included the review of <Daegyeongseong Gwangsangok>, which the other studies have not dealt with thus far, although this scenario is incomplete. The results of the present study showed that Shim Hun, who mainly recognized the popularity of films, enjoyed using the triangular dynamics of characters in his scenarios. Here, the study could not only understand his awareness of popularity, but also trace his positions about the reality of the country under colonial rule and the transition process of his works after he retired into the countryside. In addition, he may have been influenced by his mentor Minoru Murata during the period when he experienced Japan’s film world. As shown in his film reviews, he took notice of expressive films, and the patterns of how his such recognition were revealed in his scenarios were analyzed in this study. In addition, although <Sangnoksu> is the scenario for a silent film, it was written at the time when sound films emerged in South Korea, and thus the traces of his pursuit for sound films were observed in the scenario. Based on the results of discussions in this study, Shim Hun’s position in the country’s history of scenarios can be identified as follows: As a leading intellectual in the initial stage of South Korean films, he could be named as the country’s frist professional cine-novel and scenario writer. He was influenced by the West’s expressive films via Japan, and the characteristics of his creation included his national awareness of the country’s reality as a colony and the transitional traces of sound films in his works during his life in the silent-film era.

1920’s Scenario, Expressionism, Film Version of a Novel, Korea Screenwriter, Korea Silent-film, Korea Talky-film, Popularity of Movies, Sim Hun