This study purposes to reconsider the meaning of filmization of korean literary works, specially on the how being adapted from three novels by Yi Gwangsu, by Yi mun yeol and by Yi cheong jun) and what those mean . As a result, we have been arrived at the true conclusions; Adoption of literary works could create another originality and in some case, filmization could even brighten the right value of literary work, though being transformed in vusual and oral sense thorough adaptive process, and then, primary works could only recover its real originality but also secondary works also produce its creative originality. The theory of filmization of this paper have been supported with reference to Andre Basin & kreuz;er Helmut and so on.( Specially this purpose depends on Kreuzer Helmut`s filmischen Adaption `C type`) Actually we could make comparisons between three korean modern novels and same name works of fimization in 1990`. Af first, we colud find out that filmization modified by director Bae Chang ho and the weakness of `cognitive failure` and confusions of by Yi gwang su could been corrected because Yi had concentrated on not on the religious vision but on the religious commandments. In a second filmization , Bak Jong Won `s (1992) we colud discover situations reversed in process of filmization . He took advantage of both the narrator as a voice -over and purely first person narrator and the spectator was objectively acknowledged the dramatic situation but the reader was captured by the narrator as a hero keeping the trauma from his young age, therefore he could not real objective situation. In film . camera objectively had reflected the political and social conflict in 1960. The narrative characters had partly appeared in confront by both point of view; camera narrative view point and first person view point. Finally in last scene, Han Byeong Tae tells that the fight yet unended. In (1993), camera of filmization tried to catch the realistic point and revive by visual and musical plays. The audience captured in that film colud not but immerse in traditional song(Pansori) and play . but in the novel (1976), only a family story that has lived on traditional song and play, represent in literary as an tragedy `Hams story`. We have concluded that Yi tried to discover korean tradition `Han` as a deep sigh without progressive national emotion In conclusion, we could understand the difficulties of literary works that should represent just on the writing ability. Moerover, korean modern novelists also should have restrained by distorted political and cultural surroundings, Therefore when the filmization of the literary works have arrived at the another problem, some works could not but adapt and review in another perspectives . The filmization of literary works don`t interrupt the development of pure korean films. The cultural technology has enhanced the filmization and cultural inventors reproduced much more films and dramas than any other days. In korea, the need of synopsis mass-produced the filmization relied on the korean modern stories. Now, we hope that korean filmization should been clearly investigated and dated and valued every by every and then, mutual relations of korean literary works and film works would been also revealed.