The Book Fish (2021)

Introduction

Lee Joon-ik's The Book of Fish is a profound and artistic mirror of 19th-century Korea. Built upon a historical foundation, the film vividly portrays the Confucian philosophy that once governed Korean society—and simultaneously offers a subtle critique of it.

The story begins with the arrest, persecution, and exile of Christian intellectuals—exiles that, instead of silencing them, ignite the birth of Neo-Buddhist thinkers.

Philosophical and Historical Context

In The Book of Fish, Lee Joon-ik explores the fading Eastern philosophy and the infiltration of Western thought, constantly posing a crucial question to the viewer:Is knowledge and enlightenment a liberating force for the Eastern mind, or a threat to its identity?

In Neo-Confucian philosophy—particularly in the teachings of Zhu Xi—inner wisdom and moral reason form the basis of natural order and universal ethics. Yet when this inner wisdom becomes detached from empirical knowledge, society inevitably declines.

Lee Joon-ik critiques precisely this separation. He shows that the East descends into darkness when it severs the bond between inner wisdom and experiential learning.

While traditional Confucian philosophy is grounded in benevolent humanism (Ren), social and natural order (Li), and the harmony of heaven, earth, and humanity, the late Joseon dynasty witnessed political crises and corruption within Confucian institutions, which in turn gave rise to reformist criticism—something the film depicts masterfully.

When Jeong Yak-jeon is exiled to Heuksando Island, the authorities brand him as a traitor, warning villagers not to treat him kindly. Yet, contrary to their command, the people accept him. The woman who shelters him utters a powerful line:

"He may be an exile, but in my home, he is a guest."

This single dialogue reveals that the moral core of the culture remains intact, but personal greed and institutional corruption have eroded it. At this juncture, thinkers like Jeong Yak-jeon strive to reconcile Buddhist philosophy with Western science, seeking to enlighten and free the people.

The Fisherman's Son — The Symbol of Society

The fisherman's son, Chang-dae, symbolizes the ordinary people—curious, intelligent, yet confined by the limits of rigid tradition. Though more learned than his peers, he remains trapped by dogma and inherited beliefs.

Initially, Chang-dae rejects Neo-Buddhist philosophy outright. But as he encounters its scholars more deeply, he begins to recognize the truth within their synthesis of ideas.

When he visits his master's brother and finds that a Buddhist monk has become his student, Chang-dae realizes that hybrid thought—far from contradicting Buddhism or Eastern identity—actually enriches and completes it.

Chang-dae, in essence, represents the human being who, in the teachings of Wang Yangming, has not yet achieved the unity of knowing and doing. Yangming believed that true knowledge emerges only when inner understanding manifests in outward action.

From Faith to Awareness

At the beginning of the film, we witness Jeong Yak-jeon and his brothers' firm faith in Christianity and their willingness to die for it. But after exile, the narrative shifts—religion fades into the background, replaced by the flourishing of learning and awareness among the people.

The message is clear: true freedom arises not from imitating another belief, but from self-knowledge. The villagers come to understand that science and knowledge are not their enemies; rather, by expanding their understanding, they can build a better, freer life for themselves and their children.

Aesthetics of Light and Color

The film's black-and-white palette immediately captures the viewer's attention—especially striking for a film released in 2021. At first, one might assume this stylistic choice simply evokes the feeling of antiquity. But Lee Joon-ik's vision goes far beyond aesthetics.

The darkness of the imagery symbolizes the collective unconscious—the unawakened mind of society.

Only in the final scenes does the metaphor become clear: when Chang-dae, representing the younger generation, transcends materialism, he is symbolized by a blue bird rising from a thorn bush.

In Eastern mythology, the blue bird is not just a color—it is a symbol of liberation and renewed vision. It heralds awakening.

In the final shot, as Chang-dae removes the word "black" from the name of the island's mountain, the image bursts into full color.

Lee Joon-ik's message through this transformation is profound:As long as we remain in ignorance, our world is dark, cold, and joyless. But when we attain knowledge, freedom, and self-awareness, our world becomes colorful and alive.

Throughout the film, Chang-dae moves from the stage of knowing to the stage of doing—and this progression is the very essence of enlightenment.

Conclusion

The Book of Fish is a cinematic discourse on the tension between empirical knowledge and inner wisdom. It argues that Western science gains its true value only when fused with Eastern ethics and spirituality—and that Eastern wisdom finds completion only when integrated with scientific knowledge.

Ultimately, The Book of Fish stands as one of the most profoundly human films in Korean cinema—because through history, philosophy, and visual poetry, it redefines awareness itself.