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This article aims for an examination of the Korean movie Chunhyang's originality. Within this processus, the act of deciphering signs from the movie is central. The cultural context is as much important as the narrative context to understand the system, the depth and the subtlety of this movie. The Chunhyang's structure is fully understood only by recognizing of the conjunction between the traditional Korean pansori show(the pansori) and the cinema including the harmony of the hearing signs(singing) and the visual ones(picture). The system of the film is truly understood in recognition with the movement of the round-trip between two worlds of different type : the presentation of the pansori and reconstitution of the history in film language. For the process which makes work this narrative and spatio-temporal change in a fluid manner, it is primordial to examine the conjunction between singing and picture. Because the harmony of auditory and visual signs is a permanent substance in these two worlds, bringing a coherence and an originality in style. This coexistence (or this symbiosis) takes some more of value when we consider meeting between the pansori and the cinéma. The protagonist of the film Chunhyang, the pansori (dongpyeonje Chunhyangga) plays throughout the film in the various parts: verbal explanation of intrigue, music, words of the characters, fluid continuity, sound link, natural association between the spaces of different types, etc. This Korean traditional art is the source of history, narration and creative force of the film. In reference to the fact that the pansori renews its version thanks to every artist until our days, they will not hereafter miss to add a new version in the directory of Chunhyangga: film version of the cineaste IM Kwon-Taek. Or else, contrariwise, we can say that this film fulfils a specific adaptation of Korean traditional show. It is of course the second case which was our purpose.