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Genre: Slice of life, romance, comedy. |
From Wikipedia: “My Liberation Notes” (aka “My Liberation Diary”) is a South Korean television series starring Lee Min-ki, Kim Ji-won, Son Seok-koo, and Lee El. It premiered on JTBC on April 9, 2022, and aired every Saturday and Sunday at 22:30 (KST). It is also available for streaming on Netflix.
"My Liberation Notes" was written by Park Hae-young (“My Mister” and “Another Miss Oh”); it was directed by Kim Seok-yoon (“Detective K” movies, “Law School” and “The Light in Your Eyes”).
Episodes 9 to 16 were ranked first in its time slot, except for Ep. 10, which was ranked 2nd.
How I wrote these episode summaries with no spoilers
1. I assumed that you will be reading these summaries and watching the videos chronologically.
2. I narrated some of the main actions in each episode without revealing the plot’s twists and turns.
3. At the beginning of each summary starting with Episode 3, I placed in a table a recap of the major twists and turns of the previous episode. But because you have already watched the video of the previous episode, they aren’t spoilers anymore.
4. I followed this structure all throughout, except for Ep. 16 (Finale) where I included spoilers. Reason — most people want to know if the drama has a good/happy ending or a sad ending before they invest the time in watching it.
Episodes 1-2: “Worship me”
Mi-jeong, Chang-hee, and Gi-jeong are siblings who work in Seoul and live with their parents in Sanpo, a countryside far from Seoul; they reach it from Seoul after riding on the subway train and a bus,
or by taxi. Mi-jeong, the youngest, works in the design department of a credit card company. Chang-hee, the middle child, works at the headquarters of a convenience store franchiser. Gi-jeong, the eldest, works at a research company.
With constant worries about money and exhausted from the three-hour roundtrip commute, Mi-jeong, Chang-hee, and Gi-jeong lament how mundane their lives are. An introvert, Mi-jeong isn’t part of any of her company’s social clubs. Chang-hee has problems with his girlfriend and had gotten into trouble with their father (Yeom Je-ho) over his financial decisions. On the other hand, Gi-jeong is ornery because of her failures with romantic relationships. One evening, as one of their childhood friends (Du-hwan) laments to Chang-hee about being an “abandoned dog,” Mi-jeong wonders if their lives could have been different had they been born and raised in Seoul.
During the weekend, Mi-jeong and Chang-hee help out their parents in the farm. Their father has also hired Mr. Gu to help out in the farm and in their small company that manufactures sinks, closets, and furnitures; the stoic Mr. Gu keeps to himself in his rented house and often drinks the night away.
The bank clerk informs Mi-jeong of a problem with a loan that she took out and warns her that she will be receiving a notice of delinquency from the bank. After having witnessed the latest argument between her father and Chang-hee about finances, Mi-jeong becomes worried about her parents finding out about her own financial problems. On the way to work the next day, she decides to ask Mr. Gu to watch out for the postman and hide a letter addressed to her.
At a bar after work, Gi-jeong gets teased by Chang-hee and his friends from Sanpo when she vents about her boss not having asked her out on a date. She gets even more depressed when their childhood friend, Hyeon-a, scolds her because her standard for men is too high. Later, Hyeon-a, who’s a bit tipsy, rudely interrupts a phone call between Chang-hee and one of his company’s franchisees.
Mi-jeong becomes depressed over problems with the designs she has been working on and after she finds out that her officemates have excluded her from their plans.
During dinner, Gi-jeong wonders if Mr. Gu is a fugitive hiding in their village; looking out their window, Chang-hee is surprised to see Mr. Gu passing by their house with a bag full of soju.
Episode 3: “Liberation Club”
| Eps. 1-2 recap:
Chang-hee breaks up with his girlfriend, whom he accused of flirting with another guy. Later, his father rebukes him when he says that he wants to buy an electric car. He says that he needs a car so that he can get married. Mr. Gu finds out that Mi-jeong used the address of the house that he’s renting for the bank’s notice of delinquency; after Mi-jeong asks him to hide the letter for her, he says nothing and places the notice back into his cupboard. Gi-jeong despairs because she’s the only woman in her office who her boss has not asked out for a date; she tells a friend that all she really wants is genuine talk between her and a man. Mi-jeong sees her father rushing Mr. Gu to the hospital; Mr. Gu has a bloody face, which her mother thinks resulted from a fall after he got drunk again. Mi-jeong had taken out a loan for a guy she was dating, but the guy is nowhere to be found; her friend says that the guy has run away to Thailand with his ex-girlfriend. On the way home, Mi-jeong remembers a humiliating experience in grade school when she scored 20 out of a 100-item test; her teacher had asked her to get her parents to sign the test paper. While Mr. Gu is drinking soju again outside his house, Mi-jeong walks up to him and rants against all the guys she has dated before. She tells him that instead of just drinking his life away, he should “worship” her. |
Flashback ... Stunned by Mi-jeong’s demand that he “worship her and make her whole” instead of just drinking his life away, Mr. Gu walks away, telling her that she knows nothing about him.
At work the next day, Mi-jeong sees the counselor from the Joy Support Center and feels pressured again to join a social club. In her office, she gets into trouble with her boss.
While drinking with Gi-jeong, Mi-jeong, and Du-hwan, Chang-hee scolds Gi-jeong for ruining her chances for a romantic relationship by being a “pick-up girl.” Later, after Du-hwan tells him and Mi-jeong about Mr. Gu’s drinking rituals, he tries to be friendly with Mr. Gu by having a drink with him. But Mr. Gu shuts him down.
Gi-jeong finally musters up her courage and confronts her boss, Park Jin-u, about why he hasn’t given her lottery tickets and asked her out on a date.
Together with Park Sang-min and Cho Tae-hun (the two other introverted employees who aren’t part of any social club), Mi-jeong gets called to a session with the counselor of the Joy Support Center. While waiting for their appointment, Tae-hun tells her and Sang-min that they should fake being in a club by themselves.
Episode 4: Thunderstorms and a leap of faith
| Ep. 3 recap:
Flashback ... Mr. Gu challenges Mi-jeong if she has ever made somebody feel whole. Gi-jeong’s boss, Park Jin-u, takes her out on a date; he gives her advice on romantic relationships and says that she’s like a slice of life drama. After the date, however, Gi-jeong thinks that he took her out on a date simply because of guilt. On her way home after her date, Gi-jeong sees Chang-hee’s ex-girlfriend in the train; later, Chang-hee says that his ex-girlfriend thinks he’s a pathetic loser. Mi-jeong tells Tae-hun and Sang-min that they should form the “Liberation Club.” After telling the skeptical counselor about their club, they decide to find out what things they want to be liberated from. While on a lunch break from working on the farm, Mi-jeong asks Mr. Gu if he wants her to worship him and make him whole. The next day, on her way to work, Mi-jeong tells Mr. Gu that, for starters, they should say hi to one another in the morning. She brightens up when he says that she should hurry, or else she will miss her bus. |
Mr. Gu joins Mi-jeong and her parents for dinner. Gi-jeong and Chang-hee arrive, and as they rant and rave against each other, Mi-jeong gets caught in the middle. Later on, Chang-hee goes to see Mr. Gu in his rented house and warns him about Mi-jeong’s temper. When he asks why he ended up in Sanpo, Mr. Gu replies that he got off at the wrong stop.
Chang-hee gets into a conflict with a fellow employee, who he thinks wants to prevent him from getting a promotion. His problems become worse later on when he gets into another argument with his father.
A customer berates Yeom Je-ho for installing a supposedly overpriced sink. Mr. Gu takes the delivery cab and goes to confront the customer. Later, as Mi-jeong brings him food from her mother, he offers to beat the money out of the guy responsible for her delinquent bank loan. When Mi-jeong says that she won’t stoop down to the level of the guy who deceived her, he replies, “I don’t intend to change, and neither do you.”
After being insulted by her co-employee who was dumped by Park Jin-u, Gi-jeong decides to go to a dermatology clinic and inquire about procedures that can make her pretty.
Episode 5: The journals
| Ep. 4 recap:
Yeom Je-ho becomes angry after finding out that Chang-hee is spending time listening to the franchisee who has been confiding to him her grievances. But Chang-hee answers back, questioning his decisions in life. Gi-jeong finds out that the employee in the dermatology clinic was her schoolmate in Sanpo. In her schoolmate’s family-owned restaurant, she’s surprised that her schoolmate’s younger brother is Tae-hun, with whom she had an embarrassing encounter. Impulsively, she gives Tae-hun the lottery tickets that her boss, Park Jin-u, gave to her. After lightning strikes an electric post during a thunderstorm, Mi-jeong forces Mr. Gu to seek shelter inside his house. The next day, Mr. Gu wakes up to find his left foot injured after having unknowingly scalded himself. At the farm, after the wind blows away Mi-jeong’s hat, Mr. Gu surprises everyone by running and jumping across the canal to retrieve the hat. |
During dinner, Chang-hee pesters Mr. Gu for his complete name while searching the Internet for information on Korea’s top track and field athletes. But Mr. Gu refuses to answer and later tells him that he has nothing to say and nothing he wants to hear.
Gi-jeong messages her former schoolmate in the hopes of communicating with Tae-hun. The next day, she tells her boss, Park Jin-u, that she doesn’t go through the normal stages of romance — she always falls madly in love at first sight.
During their “hweshik” (company dinner), Chang-hee thinks about investing in cryptocurrency. One of his co-employees begins to flirt with him and later sends numerous messages to their group chat, hoping to get his attention.
When Mi-jeong, Tae-hun, and Sang-min can’t say what they do in their “Liberation Club,” the counselor at Joy Support Center orders them to start keeping journals.
After getting his pay from Yeom Je-ho, Mr. Gu asks him for Mi-jeong’s cellphone number.
Episode 6: “I just worshipped you.”
| Ep. 5 recap:
After assuring herself that she’s a great person and that she won’t ask to be loved, Mi-jeong buys some soju and gives them to Mr. Gu. She tells him that if he “worships her,” they’ll both be different persons when spring comes; she compares it to taking a leap of faith. After thinking that there’s no way she can see Tae-hun again, Gi-jeong goes home drunk; she fantasizes about a robot that will take care of all her needs. Chang-hee also becomes interested in his co-employee. But he remembers his past relationships and why he ended them — he’s not the type of guy who will settle down and have children. He wants instead to become rich and buy a sports car. Hyeon-a pretends to be Chang-hee’s ex-girlfriend and makes the franchisee feel guilty about frequently calling up Chang-hee and tying up his time. In her journal, Mi-jeong writes that she doesn’t truly love anything and wants to live differently. Mr. Gu texts Mi-jeong and asks if she wants to eat out with him. But on their way home later on, Gi-jeong sees them. |
Chang-hee’s boss tells him to get one of their franchisees to sign a five-year renewal. Chang-hee assures his boss that the franchisee will sign the renewal contract and not with a rival company. But at the store, the franchisee refuses to sign the contract.
Tension simmers between Mi-jeong and her friends when it becomes public knowledge in their office that her friends are going to Guam on a vacation by themselves.
Chang-hee sounds out his father about a new business opportunity; the capital needed is a hefty 300 million won, but the monthly income is 10 million won. His father, however, turns him down again.
When Gi-jeong confronts her about Mr. Gu, Mi-jeong retorts that she’s “practicing” and that Gi-jeong’s pickiness with men has led her to nothing. At Tae-hun’s restaurant, as Hyeon-a gets into a drunken argument with Gi-jeong about men, Mi-jeong sends another text to Mr. Gu about the billboard just outside Seoul that proclaims, “Something good is happening to you today.”
During breakfast with Chang-hee and Mi-jeong, Du-hwan mentions awkwardly meeting Mr. Gu on his way over. When Chang-hee tells her about the “dazzling light”coming from Mr. Gu’s room, Mi-jeong tellshim that it’s arrogant of him to try and change who Mr. Gu is.
Episode 7: “You scare me!”
| Ep. 6 recap:
Gi-jeong finds herself falling more in love with Tae-hun. Chang-hee finds dozens upon dozens of empty soju bottles in Mr. Gu’s room. With Du-hwan’s help, they start gathering the bottles, thinking of bringing them to a recycling center. But Mr. Gu stops them. After talking with Mi-jeong the night before and remembering what she said about the “cattle drive,” Mr. Gu gathers the empty bottles, places them in sacks, and sells them to the recycling center. Later, after cleaning up his house, he sends pictures of his house to Mi-jeong. With some inside information, the father of Chang-hee’s co-employee, A-reum, hastily rents the building where the convenience store is located. Chang-hee vows revenge by making A-reum fall in love with him. During his meeting with Hyeon-a, he recounts what happened at the ATM center. Later, he brings Hyeon-a to the convenience store owned by the woman who has been pestering him and helps her to apply there. In a house, a cellphone on a table gets several missed calls and text messages addressed to “Gu Jag-yeong.” The text messages says that they have to move and that he doesn’t have to hide anymore. Despite warnings from Mr. Gu and Mi-jeong, Chang-hee tries to jump across the wide ditch that Mr. Gu jumped across. He fails to make it, landing in a belly flop on the ditch. |
During dinner, Du-hwan giddily tells Chang-hee and Mi-jeong that his long-time crush has broken up with her boyfriend. But Chang-hee deflates his spirit, and Mi-jeong says that her heart never beats fast just because she likes someone.
Gi-jeong stumbles upon a meeting of the “Liberation Club” presided by the counselor of the Joy Support Center; she eagerly eavesdrops as Tae-hun talks about what he has written in his journal.
After her father, Yeom Je-ho, finds out that she changed her address at the household registry office, Mi-jeong makes up the excuse that she was just covering up for a friend. But her father orders her to revert her records to their address. Afraid that her parents will soon learn about her delinquent loan and that her credit cards will be frozen, she texts and tries to call up the man who deceived her.
The mystery person who has been calling and sending text messages to Mr. Gu turns out to be Mr. Gu’s elder brother. He asks where Mr. Gu is hiding and tells him about a falling out between Chairman Shim and Mr. Baek; he also says that, if they make a move now, Mr. Gu doesn’t have to hide anymore.
Episode 8: Nirvana and well-laid plans
| Ep. 7 recap:
Gi-jeong overhears Tae-hun speak about how his parents’ deaths affected him and how his daughter might be feeling about the divorce. But, remembering Chang-hee’s words about all the guys whom she treated badly because they didn’t meet her standards, she’s torn in conflict whether to follow her boss’s advice to ask Tae-hun out for a date. Mi-jeong gets to contact the girlfriend of the man who deceived her about the bank loan, but the girlfriend says that they’re living from hand to mouth. The man himself soon answers her but becomes abusive. Mi-jeong confesses to Gi-jeong that it was her who asked Mr. Gu to “worship” her. Later, she pays off the delinquent bank loan. Mi-jeong dissuades Mr. Gu from beating up the man who deceived her. She says that part of the reason she asked him to “worship” her is so that she can build up her self-esteem and confidence; in time, she’ll be able to face the man who deceived her and demand that he pay her back. Mr. Gu replies that she scares him. Based on Gi-jeong’s flippant remark, Chang-hee finds out that the guy she referred to as Mi-jeong’s boyfriend is none other than Mr. Gu. |
During lunch, Mi-jeong tells her officemates about what she likes about her “boyfriend” — he has no shell. Meanwhile, in her agitation, Gi-jeong sends to Tae-hun an emoji with the words “I miss you.”
Gi-jeong tells Chang-hee that Mi-jeong asked Mr. Gu to “worship” her. The next day, at the convenience store, after Chang-hee tells her about the “worship” thing, Hyeon-a says that Mi-jeong might have said it to save Mr. Gu from all his problems.
Mi-jeong’s boss scribbles on the design printouts that she submitted everything that he thinks is wrong with the designs. She works on the designs overtime in a cafe, enduring the work by imagining that Mr. Gu is beside her.
Afraid of being rejected, Du-hwan thinks about faking amnesia due to an accident as an excuse if everything goes wrong with his planned confession to the love of his life. Gi-jeong hears about his plan and volunteers to try it out. She pesters Chang-hee that, if her plan with Tae-hun fails, he should make walking away from Tae-hun less embarrassing for her.
At their franchising office, A-reum deflates Chang-hee’s spirit by reminding him about the low odds of him being assigned to the product development team against being promoted.
While getting gas for the delivery van, Mr. Gu is recognized by someone in a car. As he drives away in the van with Yeom Je-ho, the man points him out to Mr. Baek. Later on, he gets a call from his brother, saying that the man will be searching for him; his brother warns him that he should strike Mr. Baek first.
Episode 9
| Ep. 8 recap:
As she works overtime in a cafe, Mi-jeong is surprised to see Mr. Gu arrive there. Later on, when they meet in a supermarket after her boss allows her to leave early, Mi-jeong admits that she’s so happy to see him that she almost hugged him. Gi-jeong buys the Nirvana album for Tae-hun; after giving the album to him in a restaurant, she blurts out if he’d like to be in either a relationship or casual dating. When Tae-hun is taken aback, Gi-jeong hurries away, feeling rejected; based on the prearranged signal, Chang-hee and Du-hwan race towards her on a motorcycle. But when Chang-hee pushes her, his hand gets tangled up with her bag’s strap; she ends up with a cast for her broken wrist. While eating with Chang-hee, Hyeon-a, Du-hwan, and Jung-hoon, Gi-jeong says that it’s all for the best and that she feels better now that she has confessed her feelings for Tae-hun; she says that it will help her get over her feelings. |
Flashback ... Mi-jeong tells the counselor at Joy Support Center that she feels lovable and that she can now talk freely with others.
Gi-jeong recounts to her boss the embarrassing incident with Tae-hun that ended with her wrist in a cast. But she also says that she received text messages from Tae-hun, apologizing for leading her on and repeating his promise to treat her out.
Chang-hee becomes fed up with A-reum and blurts out loud enough for everyone in their office to hear, “Do you like me? Why do you always follow me around?”
Mr. Baek comes upon Mr. Gu during a road accident with Yeom Je-ho’s delivery van. At a rooftop restaurant, he mocks Mr. Gu’s lack of remorse over his his girlfriend’s death. He wonders why Mr. Gu cried over his dog that died but didn’t over his girlfriend?
At home, Mi-jeong shocks her mother by confessing that she’s dating Mr. Gu.
Episode 10
| Ep. 9 recap:
Chang-hee’s officemate rebukes him by saying that he hates A-reum because she’s rich; he urges Chang-hee to acknowledge his own greed. Later on, both Chang-hee and A-reum are bypassed for the promotion. After his sister becomes suspicious that he’s seeing a woman, Tae-hun deletes all of his text messages to Gi-jeong. Mr. Gu confesses to Mi-jeong that he’s responsible for his girlfriend’s suicide. Later on, Mi-jeong hears Hyeon-a fighting with her boyfriend about taking care of her ex. When the power goes out in his house, Mr. Gu takes a knife from the drawer, thinking that Mr. Baek or his men might have come to kill him. But it’s only Chang-hee, who had to use his bidet toilet. Flashback ... While on a train, Mr. Gu hears a woman struggling with someone. As he gets off the train at Dangmi Station to help the woman, he inadvertently leaves his cellphone on the train, missing the text messages from Mr. Baek’s guy who asks him to meet at another station. Unknown to him, dozens of Mr. Baek’s men are waiting to ambush him at the other station. Mr. Gu follows the woman, who’s struggling with a dead drunk guy, to make sure she’s alright. The next day, he meets the woman on the street — it’s Mi-jeong. |
Flashback ... From a phone booth, Mr. Gu talks to a man who says they should strike against Mr. Baek because it’s what Chairman Shin actually wants. But he says that he’s completely exhausted.
Mi-jeong catches up with Mr. Gu, who’s drunk and unmindful of the wild dogs in the empty field. Later, as Mr. Gu collapses on a bench by the roadside, Chang-hee arrives and lies on the bench, too.
At the franchising company headquarters, Chang-hee and A-reum’s immediate boss tries to separate them to prevent a hostile work environment. Meanwhile, at Yeom Je-ho’s woodworking business, Mr. Gu sees one of Mr. Baek’s men passing by in a car.
Tae-hun’s sister invites Gi-jeong to their restaurant, saying that they have fresh octopus. Despite her fears and worries and through her boss’s encouragement, Gi-jeong accepts the invitation.
Episode 11: "People are scarecrows."
| Ep. 10 recap:
Tae-hun’s sister humiliates Gi-jeong, saying that she and her sister are all that Tae-hun’s daughter needs. When she senses that Tae-hun is protecting Gi-jeong’s feelings, she asks if Gi-jeong is the woman that Tae-hun is seeing. Gi-jeong is forced to admit that she confessed her feelings to Tae-hun and that Tae-jun rejected her. The current girlfriend of Gi-jeong’s boss confronts her, demanding that she stop confiding her relationship problems with him. The boss’s former girlfriend, meanwhile, says that Gi-jeong probably made up the stories about the man she likes so that she can become close to their boss. As Gi-jeong cries while working, she receives a text message from Tae-hun, who promises to take her out on two dates. In Seoul, Mr. Gu confronts Mr. Baek, saying that if he doesn’t stop his men from surveilling him in Sanpo, he will come back and rejoin Chairman Shin’s organization. Later, he reconciles with Mi-jeong. Mr. Gu takes Chang-hee to Seoul and lets him drive his Rolls Royce. |
Chang-hee uses the Rolls Royce to give Mi-jeong a ride to the convenience store to buy some soy sauce. Gi-jeong wants to ride along in the car as Chang-hee goes to Seoul the next day, while Chang-hee’s friends say that Mi-jeong has struck gold with her boyfriend.
At work, Mi-jeong’s boss mocks her “Liberation Club” and says that he will start a marathon club. That night, she vents to Mr. Gu her frustrations with her boss.
After running away from an elderly woman who demands that she return something,Hyeon-a takes Chang-hee to a fancy club; there, she shows him her bank account balance totalling 500 million won. She tells him that if she winds up dead, it’s not because she committed suicide but was murdered because of the money.
In the darkness, Mr. Gu sees two men arrive near his house; he hides behind a curtain and sees the men plant a bug in Yeom Je-ho’s delivery van.
Despite her officemate’s demand that she stop confiding her relationship problems with their boss, Gi-jeong asks again for advice. After getting a text message from Tae-hun setting their date for that day, her boss tells her to play hard to get and make Tae-hun feel anxious by setting the date on another day.
While at a franchisee store, Chang-hee sees his ex-girlfriend and her friend admiring the Rolls Royce.
Episode 12: “Does anyone live without pretending?”
| Ep. 11 recap:
Tae-hun’s sister rudely interrupts his date with Gi-jeong, but Tae-hun, without using honorifics, orders her to leave. After she leaves, he tells Gi-jeong not to shave her head because he’ll be the man for her to love. Hyeon-a got the 500 million won from her ex-boyfriend, who’s dying in a hospital. The ex-boyfriend worries that she won't come back to visit him if he doesn’t give her the money; he doesn’t want to die while holding only his mother’s hand. (While on the Rolls Royce on their way home from the club, Hyeon-a told Chang-hee that her ex-boyfriend rated her a 70. But her ex-boyfriend’s mother didn’t approve of their relationship.) Chairman Shin ordered his men to plant the bug on the delivery van; later, he asks Mr. Gu to rejoin his organization because he has lost faith in Mr. Baek. |
Tae-hun’s sisters fight over his relationship with Gi-jeong and possibly losing their beloved niece if Tae-hun and Gi-jeong get married. Meanwhile, during a break in their bike ride, Tae-hun’s daughter asks him about Gi-jeong.
While Mr. Gu and Yeom Je-ho are out installing some sinks, his older brother (the man who has been calling and texting him) shows up at the house and meets Mi-jeong’s mother. Later, as they arrive in the house for lunch, Yeom Je-ho notices the man’s luxury car, watch, and jewelry.
After his brother leaves, Mr. Gu goes to the open field where the wild dogs are and puts up a patio umbrella for the dogs.
Mi-jeong, Tae-hun, and Sang-min welcome the newest addition to the “Liberation Club.” Sang-min and Tae-hun outline the club’s tenets, including not pretending to be happy or unhappy and always being honest with one’s self.
Gi-jeong tells Tae-hun the dating rules for a woman who lives far away from Seoul; he must not offer to drive her home. On the other hand, Tae-hun tells Gi-jeong about the dating rules for someone who has children — dates can be canceled at any time and dates on holidays are a no-no. After dinner, Tae-hun offers to drive her home.
During a night out with their officemates, Chang-hee tries to impress Da-hyeon by giving her a ride in the Rolls Royce. But the car is blocked by another car; the next day, he finds out that the car’s rear bumper has been damaged. Later, after learning that Mr. Gu owns the Rolls Royce, Yeom Je-ho forbids Chang-hee from using it ever again.
Mr. Gu decides to go to Seoul and see his brother.
Episode 13
| Ep. 12 recap:
Mi-jeong’s boss announces that there’s a design contest; he tells Mi-jeong’s fellow designers that they should their best to win the contest but pointedly omits mentioning Mi-jeong. Hyeon-a tells Chang-hee that her dying ex-boyfriend wants to see him. Mr. Gu tells his brother that Mr. Baek is selling drugs in Chairman Shin’s club. The police raid the club, and Mr. Baek dies as he tries to escape. Mr. Gu says goodbye to Mi-jeong and Yeom Je-ho. Mi-jeong replies that she’ll contact him or meet once or twice a month, but Mr. Gu wants a clean break between them. The next day, on her way to the office, Mi-jeong recites to herself the tenets of the “Liberation Club.” |
Flash forward ... Mr. Gu deals with the myriad problems that Chairman Shin’s organization is facing, including the police interception of their chat rooms and 1.2 million won worth of unpaid bills from a customer who has been ghosting one of the organization’s new managers. Under a lot of pressure, he drinks heavily.
Mi-jeong joins the design contest, despite her boss’s condescending attitude. When her mother asks about Mr. Gu, she says that she doesn’t contact him; at the mountain which she and Mr. Gu once climbed, her reverie is distracted when a wild dog appears.
After eight years at the franchising company, Chang-hee quits his job. When his father later confronts him about his plans, he says that he’ll just do nothing for a while; he adds that he wants to earn Yeom Je-ho’s respect the way that Mr. Gu earned his respect.
Gi-jeong’s mother becomes curious about her boyfriend and insists on meeting him.
Mr. Gu returns to Sanpo.
Episode 14: “No such thing as the right time”
| Ep. 13 recap:
After finding out that her boss is having an affair with someone in the office, Mi-jeong accidentally sees on her boss’s computer messages addressed to “Yeom Mi-jeong.” Hyeon-a’s dying ex-boyfriend tells Chang-hee that, even while they were dating, Hyeon-a kept talking about him. Mi-jeong wins the design contest. Returning to Sanpo, Mr. Gu finds out that Mi-jeong, Chang-hee, and Gi-jeong all moved to Seoul after their mother died. |
Mi-jeong, Chang-hee, Gi-jeong deal with their mother’s death while their father is in a state of shock. After the cremation, they keep their mother’s urn in their house instead of a columbarium.
At work, Mi-jeong blows up at her boss for using her name as his mistress’s name in his phonebook. That night, she tries to contact Mr. Gu but fails. Later on, after she and the real mistress slam their bags at each other’s head, the company investigates the matter.
Gi-jeong tries to appear cheerful when she visits Tae-hun but loses her composure when Tae-hun’s daughter, Yu-rim, asks her if grownups also cry when their mother dies; she pleads with Yu-rim if she can be her mother.
Gi-jeong blows up after she finds out that Mi-jeong has lent money to her ex-boyfriend.
At the crematorium, Chang-hee proposed to Hyeon-a but since then no longer communicated with her. He tells Hyeon-a’s dying ex-boyfriend that Hyeon-a won’t accept his proposal anyway.
Episode 15
| Ep. 14 recap:
When her boss and the mistress deny everything, Mi-jeong is forced to pay two million won [around 1,500 US dollars] as settlement. Tae-hun says yes after Gi-jeong asks him to get married. Yeom Je-ho finally agrees to buy a car for the family. After buying the car, they spend the rest of the afternoon on the beach. Mr. Gu and Mi-jeong finally meet again; when she asks what his name is, he replies, “Gu Jag-yeong.” |
Mr. Gu and Mi-jeong’s date is interrupted when he gets a call that he’s needed for the collection run. In one of his stops, a host bar, he meets the woman who owed the club 1.5 million won and whom he embarrassed in public to pay up; he also ransacks his brother’s office.
Chang-hee now manages a convenience store and has managed to pay off his loan. But he’s having problems in his relationship with Hyeon-a.
Gi-jeong buys a pregnancy test kit, but to her shock, Tae-hun’s daughter, Yu-rim, sees it.
Citing what Mr. Gu himself said about therapy to Mr. Baek’s sister, Chairman Shin orders Mr. Gu to deal with his alcoholism; later on, Mr. Gu offers Mi-jeong a part-time job — 10 sessions to hear him talk.
Episode 16, Finale (with spoilers)
| Ep. 15 recap:
Mr. Gu finds out that his brother is skimming money off the club’s earnings because of gambling debts. After failing to collect the six million won that her ex-boyfriend still owes her, Mi-jeong wanted to create a scene at his ex-boyfriend’s wedding. But as she was about to do so, she got the call from Mr. Gu. Realizing that Hyeon-a can only relate to broken men, Chang-hee breaks up with her. Conflict continues between Gi-jeong and Tae-hun’s sister over Yu-rim; Gi-jeong also fails to earn Yu-rim’s affection. When Tae-hun feels relieved that she’s not pregnant, she becomes depressed and cuts her hair short. |
During a meeting of the “Liberation Club,“” Sang-min excitedly tells the other members that his friend wants to publish their journals. While he and the others talk about what pseudonyms they can use to protect their identities, Tae-hun isn’t sure, saying that his thoughts in his journal are too personal.
Chairman Shin orders Mr. Gu to shut down his brother’s operation, but Mr. Gu gives his brother another chance, stipulating, however, that if the club’s revenue drops below 80 million won, he’s out immediately.
After the club’s meeting, Mi-jeong meets Mr. Gu, who tells her about the buzzing sound in his ear; he says that it’s easier to drink than to stay sober.
Mi-jeong, Chang-hee, and Gi-jeong return to Sanpo to celebrate their father’s birthday.
Failing to contact Hyeon-a, Chang-hee decides to cancel his meeting with the officers of the franchising HQ and stays with Hyeon-a’s dying ex-boyfriend during his last moments.
At a bank, Mi-jeong sees her ex-boyfriend who has refused to pay her the six million won that he owes her.
After another fight with his sister over Gi-jeong, Tae-hun asks Gi-jeong why they got together in the first place. Later, after Tae-hun gives her a rose, she realizes that she loves him; she texts him, saying that his buttons are done up wrong.
An all-out brawl takes place when loan sharks descend on the club managed by Mr. Gu’s brother.
On the street, Mr. Gu leaves his bottle of wine with a homeless person. He decides to change his life, trudging on, step by step, beginning with staying sober.
Mi-jeong waits for Mr. Gu, reflecting on how her “Liberation Notes” journal is divided into two parts — before and after she met Mr. Gu. She feels lovable and smiles as she turns to the camera.
Historical /cultural backgrounders and other information
1. This drama’s most famous line: “Worship me!”
From [Reporter’s Notebook] Why desire to be ‘revered’ resonates with Koreans (The Korean Herald):
After the episode was aired, the Korean word “chuang” — which means to revere, respect or worship — created buzz online. As Mr.Gu does in the show, it prompted many to look in the dictionary for its exact meaning. The term is rarely used in drama series, nor in daily conversations — especially in reference to a romantic relationship between two people.
2. BTS video of Ep. 4’s leap of faith
Lessons in photography "My Liberation Notes" with in-depth analysis of its visuals, cinematography, and editing
Index: A. How “My Liberation Notes“ uses “breaking the 180-degree rule” aka “crossing the line” to create emotional or psychological tension, or to signify a change of “beat”; B. From short siding to lead room, nose room, or looking space, or vice-versa to depict change in a character’s change of mood or to depict emotional or psychological tension C. Other ways the drama used to depict or reinforce emotional or psychological tension: push in and pull out; camera roll; lower quadrant or lower corner composition; motion blur/aesthetic blur, slow motion, cross dissolve, and shallow depth of field with foreground and background blur; out of focus shots; composition technique similar to “Mr. Sunshine”; D. Rack focus (the work of the focus puller); E. Visual cues; F. Miscellaneous observations: some shots that reminded me of “Slumdog Millionaire”; shots taken with a split diopter lens; catchlights or eye lights; sunlight ”touching” the main characters; two problem with MLN’s use of the lower quadrant or lower corner composition; cross cutting with a difference: Mi-jeong and Mr. Gu meeting each other at Dangmi Station in Ep. 13?; reverse motion to indicate flashback; G. Rabid rant against the ubiquitous, nonsensical, and unnecessary Dutch angle shots in this
A. How “My Liberation Notes” uses “breaking the 180-degree rule” aka “crossing the line” to create emotional or psychological tension, or to signify a change of “beat”
From “What is the 180 Degree Rule in Film? Crossing the Line with Purpose” (Studio Binder):
What is the 180 degree rule?
The 180 degree rule is a filmmaking guideline for spatial relations between two characters on screen. The 180 rule sets an imaginary axis, or eye line, between two characters or between a character and an object. By keeping the camera on one side of this imaginary axis, the characters maintain the same left/right relationship to each other, keeping the space of the scene orderly and easy to follow.
When the camera jumps over the invisible axis, this is known as crossing the line or breaking the line, and it can produce a disorienting and distracting effect on a viewer.
What does the 180 degree rule do?
Following the rule will establish orientation.
Breaking the rule will disorient and signal unease.
Bending the rule signals a gradual change in your scene.
Notice that the Studio Binder article’s mentions “breaking the 180-degree rule” and “bending the 180-degree rule.” The more common and general term, however, is “breaking the 180-degree rule.”
Relevant resources: “What is the 180 Degree Rule in Cinematography?” and “Breaking the 180 Degree Rule for BETTER Storytelling – Crossing the 180° Line Examples in Movies”
Examples of “breaking the 180-degree rule” or “crossing the line” from movies:
(1) “Heat” 1995 blockbuster action drama directed by Michael Mann, with the cast led by Al Pacino and Robert de Niro:
The character played by Robert de Niro (a bank robber) goes to a bar when a woman starts making small talk with him. He is frame left while the woman is frame right. He becomes suspicious about the woman but lightens up a bit later when the woman explains that she has been seeing him in the bookstore. To signify that change in the scene’s mood (aka “beat”), the camera moves such that Robert de Niro’s character becomes frame right while the woman becomes frame left.
(2) “Parasite” Oscar-winning movie by Bong Joon-ho:
Mrs. Park is frame left while Jessica is frame right. Jessica tells (deceives) Mrs. Park that her son has artistic talent. The camera moves to show Mrs. Park’s shocked reaction such that Jessica is now frame left while Mrs. Park is now frame right.
Examples of of “breaking the 180-degree rule” or “crossing the line” from “My Liberation Notes”:
1, Ep. 14: Mi-jeong becomes angry with her boss for using her name in his phonebook for the employee, Su-jin, with whom he’s having an affair. Mi-jeong is frame left while Su-jin is frame right. As Su-jin trues to act as if she’s innocent, the cinematographer breaks the 180-degree rule such that Mi-jeong becomes frame right while Su-jin becomes frame left. At the end of the shot, we see Mi-jeong glaring at Su-jin.
(Note: If we follow the Studio Binder article, the proper term would be “bending the 180-degree rule.”)
The director and cinematographer broke the 180-degree rule to signify a change in “beat.” The article “How to Develop the Story Beats in Your Screenplay” defines what a “beat” is:
“A beat is a division within a scene in which the action takes a different turn, the momentum shifts, and one or more characters adapt to, or change, because of this shift. The end of one story beat and the beginning of another marks the moment that the actor must reevaluate how to portray the character. It’s a point when the character must choose a different approach, or tactic, on the way towards reaching his or her objective. As the word implies, the beat is the pulse of the film—it’s what drives the story forward.”
The article “What is a beat?” states: “In screenplays, a ‘beat’ is the smallest unit of measurement. If a character sits down at a desk and picks up a pencil, that is two beats.”
For more information about “beat,” please surf to “Story Beats: How to Create the Backbone of Your Screenplay” and “Try Our Screenplay Beat Sheet (Free Template)”
2. Ep. 2 (“Worship me!” scene): In an over the shoulder shot, Mi-jeong is frame left in the foreground while Mr. Gu is frame right in the background.
When Mi-jeong asks, “Should I give you something to do other than to drink?” Mr. Gu turns to look downward at his glass and bottle of soju. Mi-jeong then says this drama’s most famous line, “Worship me.” The next shot (from the reverse angle) is a closeup of Mr. Gu looking down; after hearing Mi-jeong say “Worship me,” he turns slowly to look at her. The camera pans left to show Mi-jeong intensely looking at him. (Notice also the rack focus: as Mr. Gu becomes out of focus, Mi-jeong becomes in focus.)
In the next shot, Mr. Gu (background) is hidden by Mi-jeong (foreground). The cinematographer breaks the 180-degree rule by “trucking” (moving parallel) to them such that Mi-jeong becomes frame right while Mr. Gu becomes frame left. (Notice that there’s again a rack focus shot.)
The next shot is a closeup of Mi-jeong, frame right and looking to the left. In the next shot, however, the cinematographer again breaks the 180-degree rule, with Mi-jeong now back to frame left and looking to the right. For the next shot, we would expect that Mr. Gu would be frame right and looking to the left. But the cinematographer again breaks the 180-degree rule such that Mr. Gu is frame left and looking to the right.
(3) Ep. 7: Mi-jeong rants and raves against Mr. Gu for treating like her an idiot after he learned that she paid the delinquent bank loan which her ex-boyfriend refuses to pay back. Mi-jeong is frame right, and as the cinematographer breaks the 180-degree rule or crosses the line by arcing (?) around her, we then see Mr. Gu, who offers her some noodles, saying that it’s his way of worshipping her. Mi-jeong is now frame right while Mr. Gu is now frame left. That crossing of the line signifies a change of beat in the scene; Mi-jeong sits down to enjoy the noodles and, like a child, even demands some water.
(4) Ep. 8: Gi-jeong plans to confess her love for Tae-hun; she pressures Chang-hee to help her in case Tae-hun rejects her and she becomes embarrassed. Because this shot by shot analysis contains
more than 35 pictures, I posted the analysis in imgur.com rather than in this post.
First, let’s define some terms:
“Dirty single” and “clean single”: ’Dirty’ usually refers to a shot where you can see a bit of another character in frame, usually out of focus (the fuzzy bit is the ’dirt’), to place a non-speaking character into a shot and determine a spatial relationship. A ’clean’ single is just that – an actor all on their own. (Video & Filmmaker magazine)
OTS (over the shoulder) shot: An over-the-shoulder shot is a camera angle that offers a medium close-up on one actor while showing part of another actor’s shoulder. This filmmaking technique combines one character’s facial expressions with another’s point of view (POV) in a single shot. (MasterClass)
“Cowboy shot”: A cowboy shot (sometimes called an American shot) is a shot framed from the actor’s mid-waist [mid-thigh] to right above their head. Many times the camera is placed at hip level as well, to give a slightly low angle to the shot. The reason the filmmaker won’t go completely back to a full shot is so the audience can still register some of the emotion on the actor’s face. (Studio Binder)
“Reverse angle shot”: A reverse angle shot is a shot taken roughly 180 degrees opposite of the shot prior. Reverse angle shots are most commonly seen in dialogue scenes and are essential for shot-reverse shot sequences. Reverse angle shots give audiences different perspectives of the same scene. They are also beneficial for filmmakers and editors because it gives them the opportunity to cut to a reverse angle for a better performance, key split information, or for pacing. (Studio Binder)
From Wikipedia: “Shot/reverse shot (or shot/countershot)” is a film technique where one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character (a reverse shot or countershot).
Things to remember from this Ep. 8 scene:
1. The writer conceptualized the scene.
3. Based on the Screenplay, the director prepared what is called the "shot list."
4. Based on the shot list, the cinematographer shot the scene, doing what is called "coverage" (shooting the scene from various viewpoints).
5. Based on what the cinematographer shot, the editor chose what shots to include and in what order to serve the director’s vision of the scene.
6. While the directing, the cinematography, and the editing certainly are major factors in this scene’s excellence, the major credit should go to the brilliant acting of Lee El, the actress who plays “Gi-jeong.”
Note: Ep. 3, Ep. 7, and Ep. 16, have shots that are almost similar to breaking the 180-degree rule.
In Ep. 3, Mr. Gu makes small talk with Mi-jeong, telling her to hurry, or else she will miss her bus. That small talk lifts up Mi-jeong’s spirit as we can see in her face and eyes while she’s in the bus, with the wind slightly blowing her hair. Notice that she’s in the middle of the frame and looking to her right. But then the camera pulls out and then moves to the left such that she becomes frame right. (Notice also that there’s a change in frame rate; the shot turns to slow motion as we see her from outside the bus.)
I don’t think this was one continuous shot, however; the shot of Mi-jeong from outside the bus was probably “stitched” together with the shot her inside the bus.
In Ep. 7, Mi-jeong tries to get her ex-boyfriend to pay the delinquent bank loan, but he becomes beliigerent and abusive, saying that she should ask for her family’s help in paying off the loan. She’s frame left (short sided), but the camera moves such that she becomes frame right.
In Ep. 16, Gi-jeong and Tae-hun reconcile; the low angle shot establishes that Tae-hun is frame left while Gi-jeong is frame right. In the next shot, Tae-hun is in the foreground, facing Gi-jeong (who’s facing the viewers). At the start of this shot, we see Tae-hun’s out of focus back while we see Gi-jeong frame right. As the camera trucks (moves parallel) to the left, we then realize that Gi-jeong’s first image that we saw is actually her reflection in a mirror. As the shot ends, the real Gi-jeong is now frame left.
B. From short siding to lead room, nose room, or looking space, or vice-versa to depict change in a character’s mood or to depict emotional or psychological tension
Overview: Some directors and cinematographers use short-sided shots to depict anger, distress, conflict, confusion, etc.
Example of a short sided shot:
Example of a shot with lead room, nose room, or looking space:
From “Short-siding – How David Fincher and Nicolas Winding Refn Get it Right” by Jason Haggstrom (2013): “short-siding” (i.e., framing a shot so a character looks and speaks towards the edge of the frame that they are most closely positioned rather than across the length of the frame to where their partner in conversation will appear after the next cut).
From “5 tips to instantly improve your compositions”: A short-sided composition means the subject is looking out of the frame, instead of into the frame. And unlike long-sided framing, which allows the audience to see what the subject is looking at, short-sided composition keeps that out of the shot.
Relevant resources:
(1) “The Miserable Ugliness of The King’s Speech”
(2) “Looking Room, Lead Room and Short Siding” | Filmmaking Tutorials
If you want to know why I hate short siding, please read my analysis of “A Business Proposal.”
Having established that I hate short siding, I must admit that in some shots in MLN, the director and cinematographer brilliantly use moving from short siding to lead room, nose room, or looking space, or vice-versa to to depict change in a character’s change of mood or to depict emotional or psychological tension.
Ep. 1 (Mi-jeong fantasizes about the man who will love and strengthen her in times of difficulties): In the frontal closeup of Mi-jeong, she’s short sided, but the camera moves slightly to the left to give her some looking space. In her profile shot, as her spirit lifts thinking about that man, the camera moves so that from being short sided, she’s now with lead room, nose room, or looking space.
Ep. 1 (At the train station, Mi-jeong continues her reverie about the man who will love and strengthen her in times of difficulties): She looks to her left and them to her right, asking rhetorically, “Where are you?” With her closeup shot, the camera moves to the right so that she becomes short sided, depicting her depression.
Ep. 6 (Mi-jeong and Mr. Gu exchange text nessages): Notice also that after two camera rolls, the camera trucks (moves parallel) to the left such that Mi-jeong becomes short sided, relative to the right edge of the frame, to heighten the emotional and psychological tension. In the next shot (from the opposite side), the camera trucks to the right such that Mi-jeong becomes short sided relative to the left edge of the frame. These camera rolls and movements are brilliant!
Ep. 3 (Gi-jeong goes on a blind date): As she and her date speak about potentially moving to Seoul, the camera moves so that from being short sided, she now has lead room, nose room, or looking space.
Ep. 3 (Gi-jeong’s blind date asks her why she’s called as “pick-up girl”): The camera moves so that from being short sided, she now has lead room, nose room, or looking space.
With both shots, the camera movement isn’t smooth to depict Gi-jeong’s unease about the topics her blind date is asking her about.
Ep. 7 (Mi-jeong talks to her ex-boyfriend’s girlfriend about the bank loan that will soon be delinquent): As the girlfriend pleads with her, Mi-jeong cries; the camera moves to the tonight so that she becomes short sided.
Ep. 7 (Mi-jeong talks to her ex-boyfriend, who becomes belligerent about being unable to pay her): As Mi-jeong cries, the camera moves so that she becomes short sided and a bit later on, with lead room, nose room, or looking space.
Ep. 12 (Mr. Gu goes to Seoul to visit his brother): Mr. Gu and his reflection are shot with somewhat of a soft focus; the camera moves so that from being short sided, he becomes with lead room.
Ep. 9: Mr. Gu tells Mi-jeong about someone who died because of him. As she asks who that person is, she’s at first with lead room; the camera moves (sways) so that she becomes short sided and then moves again so that she’s with lead room again. After a medium shot of Mr. Gu, we see her again, and the camera trucks (moves parallel) to the right so that she becomes short sided.
C. Other ways the drama used to depict or reinforce emotional or psychological tension: push in and pull out; camera roll; lower quadrant composition (head room; Rule of Thirds; in some shots, the subject is too low in the frame); motion blur or aesthetic blur; composition technique similar to “Mr. Sunshine”
(1) Explanation of the terms “push in” and “pull out”:
The article “Types of Camera Movements in Film Explained: Definitive Guide” from Studio Binder defines what a push-in shot is:
“A push-in moves the camera closer to a subject typically with a dolly camera movement or Steadicam. Push-ins can draw the audience’s attention toward a specific detail. Filmmakers also push-in toward characters to try and infer what is occurring internally. This can be a reaction, thought process, or internal conflict.”
Push in shots are used to “create subtle intimacy, tension rising, and importance.” From “The Push-in” (YouTube video):
“The Push-In, sometimes called the Character Dolly, is a camera move where the camera dollies forward toward the subject of the shot. A short push-in is like an exclamation mark. A long, slow push-in builds drama and heightens the emotional meaning of the scene. The push-in is a powerful cinematic tool for heightening tension and dramatizing a revelation, and it’s one of the fundamental techniques of the cinematographer and layout artist.”
From “The Effects of a Push in vs. Pull out” (Cinematography): “When the camera pulls out from a character to show empty space around them, it creates a feeling of isolation and loneliness, abandonment, or rejection.”
Some push in and pull out shots from “My Liberation Notes”:
Ep. 16: Sang-min texts Tae-hun and Mi-jeong about restarting the “Liberation Club.” The camera pushes in on Mi-jeong as she texts back, saying yes to restarting the club.
Ep 4: Gi-jeong is enthralled as Tae-hun talks that she’s welcome to come back to his restaurant. The camera pushes in on her, and she looks down at her wallet, thinking of giving Tae-hun the lottery tickets.
Ep 5: Mi-jeong receives the very first text message from Mr. Gu, who asks if she wants to eat out. The camera pushes in on her as she starts to smile.
Ep 6: The camera pushes in on Chang-hee as he stands in line at the ATM station.
Ep 6: The camera pushes in on Chang-hee as his attention is caught by the green glow coming from Mr. Gu's room.
Ep 9: The camera pushes in on Mr. Gu as he looks at the billboard that proclaims, “Something good is happening to you today.”
Ep 14: The camera pushes in on Mi-jeong, her father, and Gi-jeong while their inside the car on their way home after the cremation.
Ep 8: The camera pushes in on Tae-hun as he looks at the rainbow. In the next shot, the camera pulls out as we see Mi-jeong and Mr. Gu, at the temple, also looking at the rainbow.
Ep 9: Mi-jeong is stunned when Mr. Gu asks if she wants him to stop worshipping her. We see her first alone in the frame, but as the camera pulls out, we then see Mr. Gu at the corner of the frame.
(Note: I'm not sure, but the cinematographer may have used a “split diopter lens” to keep both Mr. Gu and Mi-jeong in focus.)
Ep 11: Mi-jeong is again bullied by her boss, who rejects her designs. The camera pulls out as she stands alone facing the wall in the coffee station.
Ep. 16: Chang-hee finally finds what his purpose in life; the camera pulls out as we see him through the door’s glass window, creating a sense of peace or closure to his previous struggles.
(2) Camera roll
The article “Types of Camera Movements in Film Explained: Definitive Guide” from Studio Binder explains what a "camera roll" is:
“The camera roll is a rotational camera movement that rotates the camera over its side on its long axis. Rolls can be dizzying and unnatural. For this reason, filmmakers use it to disorient the audience or create uneasiness. It’s specific effect makes it a very intentional camera movement that should only be used when wanting to elicit a discomfort in the audience.”
Relevant resource: “Camera Movements - The Roll” (YouTube)
Ep. 8: Gi-jeong feels devastated after Tae-hun rejects her and she injures her left hand after her plan with Chang-hee goes awry. To depict and reinforce her emotional and psychological agitation, the cinematographer uses two camera rolls (separated by two cuts). The first camera roll is counterclockwise, while the second camera roll is clockwise. (After the second camera roll, the shot fades to black, which heightens the feeling of emotional devastation on Gi-jeong’s part.)
Ep. 6 (Mi-jeong and Mr. Gu exchange text nessages): Unlike what the Studio Binder says about the use of a camera roll, in this scene, the cinematographer uses a camera roll to depict and reinforce Mi-jeong’s emotional and psychological tension (in a positive sense). The first camera roll is counterclockwise, while the second camera roll is clockwise.
(3) “Lower quadrant composition” aka “lower corner composition” (Rule of Thirds; quadrant system; head room; in some shots, the subject is too low in the frame)
Overview:
(1) Instead of the traditional “Rule of Thirds,” some photographers and cinematographers use the quadrant system;
(2) Because of the influence of the US drama series “Mr. Robot,” some cinematographers place their subjects in the lower left quadrant or the lower right quadrant to depict or reinforce emotional or psychological tension;
(3) Some cinematographers use the “Quadrant System” to as a compositional technique to deal with the wide aspect ratios, not necessarily to depict or reinforce emotional or psychological tension;
(4) You can study the different compositional techniques used in movies and dramas in the Vimeo video “There Will Be Blood: Through Numbers” (award-winning 2007 movie, starring Daniel Day-Lewis); (don’t be intimidated by the numbers you’ll see).
(5) Netflix dramas are shot with the 2:1 (18:9) aspect ratio, and so, “My Liberation Notes” must have also been shot with this aspect ratio.
From “The Quadrant System”:
“If instead of dividing the frame into thirds [“Rule of Thirds"], we divide it down the middle both vertically and horizontally, we get the “Quadrant System”, a grid with only four boxes instead of nine. With this grid as base it is possible to achieve unconventionally framed shots that can give life to a scene. Especially when it comes to highlighting a character’s situation or to delve into its personality, thoughts or to convey certain feelings to the audience. The TV series Mr. Robot makes a constant use of this method. In this show, characters are often “awkwardly” placed in the corner of the frame, which increases the amount of negative space, i.e., the space around and between the subjects of an image. This makes characters seem small in comparison to their surroundings, which conveys feelings of isolation, loneliness and powerlessness.”
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| Lower right quadrant |
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| Lower left and lower right quadrants |
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| Upper right quadrant |
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| Lower left quadrant |
I posted in imgur.com numerous examples from “My Liberation Notes” of the quadrant system of composition and of lower quadrant/lower corner composition.
As I pointed out in my analysis of the cinematography of “Hotel Del Luna,” cinematographers sometimes use lower quadrant or lower corner composition because of the wide aspect ratio — the wide space presents a compositional challenge. In my analyses of “The Red Sleeve” and “The King’s Affection,” I discussed the compositional techniques that cinematographers use to deal with wide aspect ratios.
Relevant resources:
(a) “Understanding Quadrant Framing in Films and TV Shows”
(b) “The Quadrant System: A Simple Composition Technique Explained”
(c) “How ‘Mr. Robot’ Uses Lower Quadrant Framing to Create a Feeling of Oppression and Isolation”
(d) “Mr Robot: Quadrant Framing”
(4) Motion blur/aesthetic blur, slow motion, cross dissolve, and shallow depth of field with foreground and background blur
This screenshot shows Mi-jeong in sharp focus while the people walking behind her are blurred.
Studio Binder in its article titled “What is Motion Blur, Is Motion Blur Good & Why Does it Happen?” (Studio Binder) says:
Motion blur is the visual streaking or smearing captured on camera as a result of movement of the camera, the subject, or a combination of the two. The human eye naturally registers motion blur in real life, so a subtle blur in film often mimics reality better than if it were absent. When applied intentionally, this effect may be referred to as aesthetic blur.
The Studio Binder article states how to get motion blur: Move the camera during exposure; Move the subject during exposure; Slow the shutter speed
Note: Motion blur can be created in-camera or added during the post production.
Examples from “My Liberation Notes” of motion blur/aesthetic blur, slow motion, cross dissolve, and shallow depth of field:
Ep. 7: Mi-jeong walks in a daze on the streets of Seoul after her ex-boyfriend becomes belligerent and abusive about not being able to pay the delinquent bank loan. She stops to read a text message from her ex-boyfriend’s girlfriend while the people walk behind her in a blur.
(Mi-jeong is also shot with a Dutch angle.)
Ep. 4 (before the thunderstorm scene): Mi-jeong thinks that she’s not unhappy but not happy at the same time. In a flashback, while she’s transfixed on a street in Seoul and people walk around her in a blur, she wonders, “Everyone is on their way to the grave. So, why is everyone so happy and excited?”
Ep. 1: At the train station, Mi-jeong fantasizes about the man who will love her and make her life feel significant.
(Note: This sequence of shots begins and ends with Mi-jeong short sided.)
Relevant resources:
(a) “Using Motion Blur for Natural Movement”
(b) “Motion blur photography and shutter speed explained”
(c) “Blur and shutter angle explained”
(d) “Motion Blur Explained in 2 Minutes (shutter speed and frame rate”
(e) “Cinematic Motion Blur”
(5) Out of focus shots: I will discuss “rack focus” shots in “My Liberation Notes” later on, but I’ve noticed in moments of emotional or psychological tension, the director and the cinematographer deliberately used out of focus.
From “Your Guide to Understanding Different Types of Camera Focus” (No Film School):
Focus is more than creating a sharp image. It can subliminally elevate your story in many different ways..
When we think about camera focus, we tend to think of how sharp an image looks in the frame, but it’s more than that. In visual storytelling, focus directly impacts how the audience may perceive the subject matter. Directors and cinematographers use focus, or more importantly depth of field, to convey a message about the story whether as a literal device—revealing a scary monster—or subliminally to evoke an emotional response to the material or scene
The article lists the different types of focus as deep focus, shallow focus, rack focus, soft focus, and tilt-shift.
Ep. 2: As Mi-jeong walks determinedly towards Mr. Gu’s house to ask him to “worship” her, she becomes out of focus briefly.
Ep. 12: Mr. Gu tells Mi-jeong that he’s leaving for Seoul and doesn’t want to communicate with her anymore.
Ep. 7: Mi-jeong and her reflection on the glass window are both out of focus as she tells Hyeon-a about Mr. Gu.
Ep. 12: Mr. Gu visits his brother in Seoul and tells him that he’s returning to Chairman Shin’s organization.
Ep. 16: Mr. Gu decides to leave Chairman Shin’s organization and start life anew with Mi-jeong. As he walks on the hallway, he’s out of focus and then becomes in focus.
(6) Wobbly or shaky camera
Ep. 7: The camera wobbles almost unnoticeably as Mi-jeong rants and raves against Mr. Gu.
Ep. 13 (Mi-jeong’s mother, Hye-suk, dies): Chang-hee runs to his father to tell him that his mother Hye-suk is unresponsive. The scene uses very noticeable wobbly and shaky camera movements, Dutch angle shots, arc shots, and out of focus shots to depict or reinforce their emotional or psychological agitation.
Ep. 13: On her way home, Mi-jeong sees an ambulance rushing to her house. Compared to her Ep. 7 scene above, the camera wobbles and shakes quite noticeably as it pushes in on her.
From “The Handheld Shot in Film — Definition and Examples” (Studio Binder):
Cinematographers and filmmakers have depended on camera support mechanisms since the beginning of cinema. With tripods, dollies, and cranes, the mechanisms to support a camera have evolved. One method, however, relies on none of these mechanisms and has only grown more relevant with time. The handheld shot.
What is a handheld shot?
A handheld shot is a shot taken with the camera being supported only by the operator’s hands and shoulder. Handheld camera work entails camera shake from the operator’s movements. According to the hand held camera definition, the shot relies only on the operator’s body. However, over time as cameras have evolved and grown, operators have utilized a few rigs to achieve the same effects of a handheld shot.
Depending on the camera’s weight and size, operators also utilize minimal rigs such as a shoulder mount or easy-rig to ease the physical burden of an operator as well as give them more control over the amount of camera shake.
Why is a handheld shot used?
- To establish subjectivity
- Heighten intensity or chaos
- Create intimacy between the characters
Relevant resources: “The Truth About Filming Handheld - Do Camera Rigs Help?” and “Top 10 Handheld Camera Moves For Epic Shots!”
(7) Composition technique from “Mr. Sunshine”
I posted on reddit a discussion titled “How the cinematographer of ‘Mr. Sunshine’ showed a character who’s facing a crisis, loss, despair, or confusion” over a year ago. As you can see in the pictures below, one of the techniques that the cinematographer used is to place a character at the right edge of the frame, with a wall or some other object that dominates the left side and most of the frame.
This composition technique seems to have also been used in “My Liberation Notes” as you can see in these pictures of Mi-jeong’s co-employees (Ep. 6), Chang-hee (Ep. 2), and Hyeon-a (Ep. 11).
D. Rack focus (a K-drama isn’t a K-drama if it doesn’t have any rack focus shot; the work of the focus puller)
In rack focus, one element (for example, a character) is in the background while another element is in the foreground. The background element is out of focus (blurred), and the foreground element is in focus. (Or vice-versa). Then, as the foreground element becomes out of focus, the background element becomes in focus. (Or vice-versa.) In this example, Mi-jeong is out of focus while Mr. Gu is in focus; as Mr. Gu becomes out of focus, Mi-jeong becomes in focus.
I’ve noticed several rack focus shots in this drama which were executed differently from how other dramas have executed them:
Ep. 12 (Mr. Gu says goodbye to Mi-jeong as he plans to return to Seoul): Instead of one subject in focus and the other one out of focus in the usual style of rack focus shots, both Mi-jeong (foreground) and Mr. Gu (reflection in the background) are both out of focus. Mi-jeong then becomes in focus as Mr. Gu’s reflection remains out of focus.
Ep. 7 (Gi-jeong stumbles upon a meeting of the “Liberation Club” and eavesdrops as Tae-hun speaks to the other members): Gi-jeong (foreground) is focus while Tae-hun (background) is out of focus. As the camera pushes in on Tae-hun, he becomes in focus while Gi-jeong becomes out of focus.
Ep. 7 (same scene as above): Tae-hun (background) is in focus while Gi-jeong (foreground, partially hidden) is out of focus. As the camera trucks (moves parallel) to the right, he becomes out of focus while Gi-jeong becomes in focus.
Ep. 7 (Mi-jeong lies to her parents about why she changed her address): The camera tracks Mi-jeong as she walks to the bus stop. She becomes out of focus as Mr. Gu, in the deep background, becomes in focus.
Ep. 16: Mr. Gu’s 500-won coin nearly falls into the drainage. As Mr. Gu becomes out of focus, the coin becomes in focus.
The person responsible for the rack focus shots is the focus puler, not the cinematographer. From “The Art of the Focus Pull” (YouTube):
Moviegoers see focus racks all the time. They probably don’t even notice most of them. That’s the idea. If you’re not looking for them, they can be hard to spot. But some rack focusing is so well done, so artful and occasionally dazzling, that it deserves to be singled out. This video essay collects these fantastic focal feats and educates on how they are done.
From “Three Must-Have Skills for Pulling Focus and How You Can Improve Them”: Pulling focus is hard. Really hard. It’s certainly no walk in the park. In fact, it’s one of the most stressful, pressure-filled, ridiculously tough tasks that you can shoulder on a set and the consequences are as simple as they are brutal: miss the focus, ruin the take.
From “What is a Focus Puller — Job Description and Duties Explained” (Studio Binder): The low end of what a professional focus puller can expect as salary is around $70,000 with the high-end maxing out around $250,000 for a hard-working 1st AC who takes on many large-scale projects.
E. Visual cues
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| I posted in imgur.com numerous examples of visual cues used in this drama. |
“Popular Visual Cues found in K-Dramas, Part 1: visual ways to establish a conflict, division, or fight between two or more characters”
“Popular Visual Cues in K-Dramas, Part 2: boxing to establish a character’s vulnerability, solitude, or fear; comfort and respite; change; danger; showdown”
“Popular Visual Cues in K-Dramas, Part 3: Dutch angle”
“Popular Visual Cues in K-Dramas, Part 4 Interpersonal cues (using cues simultaneously or one after another)”
The YouTube video “The Brilliant Cinematography of Parasite” by Thomas Flight (5:04 mark) shows how director Bong Joon-ho used lines to depict the division between the social classes, between the rich family and the poor family.
F. Miscellaneous observations
(1) Shots inspired by 2008 award-winning movie “Slumdog Millionaire”?
This isn't a random observation, considering that both “Slumdog Millionaire” and “My Liberation Notes” use Dutch angle shots abundantly. The director and cinematographer of “My Liberation Notes” may be fans of director Danny Boyle.
Pictures above from “Slumdog Millionaire” show Jamal and his brother Salim as they finally find Latika years after they were separated at the railroad tracks.
Mi-jeong (Ep. 14)
Mr. Gu (Ep. 16)
(2) Shots taken with a split diopter lens
A split diopter lens enables a photographer or cinematographer to keep both a near subject and a far subject in sharp focus.
“A split diopter lens is a piece of half convex glass that affixes to the main lens of the camera. This makes half the lens nearsighted while the other half remains farsighted. This creates the illusion of a deep focus.” (Studio Binder)
Ep. 14: Gi-jeong and Tae-hun’s daughter Yu-rim
I stand to be corrected, but [this Ep. 9 scene between Mi-jeong and Mr. Gu was shot with a split diopter lens.
Relevant resource: “All 15 Split Diopter Shots in Brian de Palma’s BLOW OUT - Vimeo”
(3) Catchlights or eye lights
Collage of Mi-jeong’s closeup shots; take notice of the gorgeous catchlights.
In the article “Catchlight Photography: How to Capture Eye Light with Purpose,” Studio Binder gives this definition:
A catchlight is the light reflected in a subject’s eye, the glimmer that comes from an external light source. Also known as an “eye light,” it’s the highlight reflected off the surface of the eye.
Studio Binder adds: “Whether you’re a filmmaker or photographer, capturing near perfect eye light can really help tell your story. The eyes are the most telling feature of a person and reveal so much to the audience.”
These YouTube videos will show you how good photographers or cinematographers meticulously set up their lighting equipment to create the catchlights they want: “Mastering eyelight”; “The Light in Your Eye”; and “The key to powerful portraits: the eyes.”
(4) Sunlight ”touching” the main characters
You may have noticed numerous shots of the sun or of sunlight "touching" the characters. The discussion threads on MLN during its broadcast may have also discussed the symbolism in these shots.
The collage below shows Mi-jeong, Mr. Gu, and Gi-jeong being “touched” by the sun.
The collage below shows the contrast between (1) Mi-jeong and Mr. Gu during a happy moment at the river with the setting sun and (2) Mr. Gu at the entrance to the glitzy club while pining for a simpler life (notice the warm colors that resemble the colors of the setting sun.
Three other shots or scenes that I like and which involve the sun or sunlight are the following:
Ep. 13: As Mr. Gu calls out Mi-jeong’s name, the next shot shows Mi-jeong smiling and backlighted by the sun.
Ep. 16: Chang-hee recounts to Du-hwan the story of a man who went to jail for his friend; as the friend was trembling on the scaffold, the man encouraged him by shouting out, “I’m here! Look at me!” Lee Min-ki’s acting, the cinematography, and the editing (with the use of cross dissolves) make this scene one of Ep. 16’s highlights.
Ep 11 (Chairman Shin pressures Mr. Gu to return to his organization): [Mr. Gu is shot from outside the car; the shot cross dissolves into the beautiful, shimmering out of focus highlights (“bokeh”), which further cross dissolves into a lower quadrant shot of Mi-jeong and Mr. Gu enjoying the sunset.
(Note: With numerous MLN scenes set during what is called in photography and cinematography as the “golden hour,” the drama’s director and the cinematographer might be Terence Malick fans.
(5) There are two problem with MLN’s use of the lower quadrant or lower corner composition:
(a) In some shots, the director placed the subject too low in the frame. In more technical terms, the “headroom” in some shots is too big; the subject might as well not be in the frame at all.
(b) With wide shots, the subject or subjects are too small that the viewer can easily miss seeing them.
Examples from “My Liberation Notes” where the subject or subjects are either too low in the frame or too small that the viewer can easily miss them:
Ep. 12 (Mr. Gu)
Ep. 13 (Mi-jeong)
Ep. 15 (Mi-jeong and Mr. Gu)
Ep. 15 (Mi-jeong and Mr. Gu)
Ep. 13 (Mi-jeong’s mother)
(6) Cross cutting with a difference: Mi-jeong and Mr. Gu meeting each other at Dangmi Station in Ep. 13?; reverse motion to indicate flashback
From “What is Cross Cutting and Parallel Editing in Film?” (Studio Binder):
Cross cutting in film is an editing technique that cuts separate actions together to illustrate moments that take place simultaneously within the narrative structure. The “rules” of cross cutting as far as their relation to scale and time are not overly strict, but the majority of cross cuts are used to show large scale events that occur across multiple locations.
In Ep. 13, Mr. Gu returns to Sanpo to look for Mi-jeong. Meanwhile, we see Mi-jeong on her way home after winning the design contest. In her heart and mind, she determines that Mr. Gu will be waiting for her at Dangmi Station.
Mr. Gu returning to Sanpo and Mi-jeong going home actually take place in different timelines. In the present timeline, Mr. Gu returns to Sanpo by riding the train in the late afternoon. In the past timeline, Mi-jeong goes home hours before sunset, anticipating that Mr. Gu would be waiting for her at the station.
What signals the change in timelines is the reverse motion in Ep. 13: the train moving backwards and the snow and the leaves rising instead of falling. The shot of the autumn leaves then cross dissolves with the shot of the falling leaves from the trees in front of Mi-jeong’s office building as the drama goes into flashback.
Part 1 (train scenes): Mr. Gu returns to Sanpo as Mi-jeong goes home.
Part 2: Mi-jeong and Mr. Gu arrive at Dangmi Station; Mi-jeong walks down the stairs with a smile on her face, expecting that Mr. Gu will be waiting for her at the station exit.
G. Rabid rant against the ubiquitous, nonsensical, and unnecessary Dutch angle shots in this drama
In my analysis of Hotel Del Luna, I estimated that the drama used a Dutch angle shot roughly every 6.7 minutes. But I also said that I didn’t have a problem with HDL’s Dutch angle shots because of its fantasy elements. Thankfully, MLN doesn’t seem to have that many Dutch angle shots as HDL. But I still got turned off by its ubiquitous, nonsensical, and unnecessary Dutch angle shots such as:
Ep. 1: water pot and electric fan
Ep. 2: electric fan and shelves; facade of Sanpo Sinks; monthly schedule; a machine pouring coffee into a mug; overhead lights and decoration
Ep. 4: Yeom Je-ho’s delivery truck parked in front of Sanpo Sinks
Ep. 6: glasses of tea and another kind of drink
Ep. 7: Mi-jeong’s mother washing the vegetables in the kitchen sink; bottles and overhead lamp; Mi-jeong mopping the floor
Ep. 8: vinyl record player
By shooting these things with a Dutch angle, the director and cinematographer severely diluted the power of a Dutch angle shot to depict emotional or psychological tension. The Dutch angle shots should have been used only with highlight scenes such as the thunderstorm scene in Ep. 4 or after the farewell scene in Ep. 12 when Mi-jeong cries in the darkness.
In Ep. 16, Mi-jeong meets at an ATM station her ex-boyfriend, who refused belligerently to pay the delinquent bank loan. The scene is shot from overhead with a Dutch angle. The drama already has several emotional scenes of Mi-jeong trying to deal with the delinquent bank loan that threatens to crush her financially; thus, the Dutch angle shot is unnecessary and overly dramatic.
Review the scene when Gi-jeong was eavesdropping on Tae-hun as he tells the other members about how his parents’ deaths affected and how he’s afraid about how the divorce has affected his daughter. Review the scene when So Hyang-gi was explaining why she wanted to join the Liberation Club. These are emotionally moving scenes that do not rely on Dutch angle shots. What made them emotionally moving? Answer - the great acting.
If there’s just only one guideline for using Dutch angle shots, it’s to use them judiciously, without calling attention to the shots:
(a) More than 50% of the shots in the Oscar-winning 2008 movie “Slumdog Millionaire” were Dutch angle shots.
(b) The movie “Thor” (2011) was highly criticized because its director Kenneth Branagh used so many Dutch angle shots; read, for example, the article “How to ruin the first Thor movie for first-time viewers.” The foremost criticism was that the Dutch angle shots in the movie distracted the viewer’s attention.
(c) The 2000 movie “Battlefield Earth” starring John Travolta used Dutch angles in 90% of the film; the movie has been universally panned by critics and was awarded as “Worst Movie of the Decade, 2000–2009.”
In my synopsis and analysis of “Mr. Sunshine,” I ranted against the ubiquitous Dutch angle shots in that drama. For a long time, I pointed to a 90-degree Dutch angle shot in Ep. 8 as the most nonsensical use of a Dutch angle shot in “Mr. Sunshine.” In that scene, Ae-shin’s servant used the traditional way of ironing clothes (“dadeumi”) with wooden clubs known as “pangmangi.” The cinematographer used a 90-degree Dutch angle shot for a close-up of the clubs.
Recently, I rewatched that scene from “Mr. Sunshine,” and although I would have preferred that a less dramatic Dutch angle shot was used, I finally realized (1) what the writer, the director, and the cinematographer wanted to say in that shot and (2) that the Dutch angle shot was appropriate. After the Dutch angle shot of the clubs, we see three shots of Lord Go looking at the portrait of Ae-shin’s parents even as we continue to hear the sound of the clubs. (That portrait will become significant later.)
In traditional Korean culture, it’s said that the sound of the “pangmangi” at night signifies a happy, contented family. By using that Dutch angle shot of the clubs combined with the shot of Lord Go looking at the family portrait (as the sound of the paddles continues), the writer, the director, and the cinematographer are showing a present dilemma on Lord Go’s part and, at the same time, foreshadowing a later crisis in Ae-shin’s life.
This intersection between good writing (that is, knowledge of traditional Korean culture) and cinematography in "Mr. Sunshine" is brilliant. I wish I could say the same thing with the ubiquitous Dutch angle shots in MLN, but I can’t. The Dutch angle shots in MLN are oftentimes either nonsensical or unnecessary, except perhaps for that noodles scene in Ep. 7.
In Ep. 7, Mr. Gu finds out that Mi-jeong paid off the delinquent bank loan; he pressures her to give him the name of her ex-boyfriend so that he can have the ex-boyfriend beaten up. After getting off the bus, Mr. Gu and Mi-jeong separate ways. But in the next shot, we see a pissed off Mi-jeong walking briskly towards Mr. Gu’s house.
The first shot inside Mr. Gu’s house is a Dutch angle shot of a pot of water on a stove. When I first saw it, I thought, “Oh no, not another nonsensical and unnecessary Dutch angle shot, please!” But after having rewatched that scene twice, I’ve come to believe that the Dutch angle shot of that pot of water on the stove is necessary and that the entire scene is brilliant in terms of writing, directing, cinematography, editing, and acting. While Mi-jeong rants against him for his words and reactions to her for paying off the loan, Mr. Gu tends to the pot of water on the stove. After Mi-jeong stops ranting, Mr. Gu calmly takes the pot of hot water (now with noodles in it) and places it on the table.
Mi-jeong is frame left, and although Mr. Gu is off frame, we can deduce that he’s frame right. The cinematographer “breaks the 180-degree rule” or “crosses the line” by moving the camera around Mi-jeong to reveal Mr. Gu offering the noodles to her and saying, “I’m worshipping you.” Mi-jeong is now frame right while Mr. Gu is now frame left. The breaking of the 180-degree rule signifies a change of beat in the scene. The scene ends with the camera slowly pulling out as Mi-jeong happily eats the noodles while Mr. Gu watches her. This Ep. 7 scene is brilliant.
