한국불교영화는 문학작품을 원작으로 한 불교영화, 장르혼합형 불교영화, 불교적 세계관을 다루는 영화로 삼분된다. 단편불교영화는 제작 환경과 미학 스타일에서 차이를 보인다. 단편불교영화는 문학작품을 원작으로 한 작품이 희귀하다. 결말은 화해지향적이다. 이는 불교에 대한 이미지와 화해 지향적 종교적 가치를 반영하기 때문이다. 단편불교영화는 세 가지 범주가 존재한다. 첫째는 불교교리를 영화적으로 재현한 영화로 이지상의 <십우도-2 견적 哀>, 백의정의 <미확인 미행물체>이다. 두 번째는 장르 혼합형 영화이며 김태희의 <붉은 나비>, 유정현의 <붓다 스타일>이다. 세 번째는 불교도와 사찰을 배경으로 한 화해지향적 결말 구조의 영화이며 이민경의 <절간의 만우절>, 박관호의 <나무아미타불 Christmas>이다. 이지상과 백의정의 작품은 십우도와 윤회적 세계관을 기반으로 한 불교적 세계를 다룬 작품이다. 장르 혼합형 불교영화는 코미디와 로드무비와 퀴어영화라는 장르를 불교적 세계관에 접목하였다. 이민경과 유재욱의 작품은 화해 지향성을 강조한다. 화해 지향적 결말구조는 한국단편불교영화의 서사적 특징이며 긍정적 불교 이미지 제고에 기여한다. 문학 작품 원작의 부재와 화해지향적의 결말 구조는 한국단편 불교영화의 가장 큰 특징이며 이는 긍정적 불교이미지 고양과 착한 영화에 대한 경계라는 양가적 평가의 여지를 남겨준다. 한국단편불교영화는 단편영화의 주제적 허약함의 해소했다. 또한 영화적 실험과 종교적 이념이 상호 소통 가능성을 열었다.

Korean Buddhist films are divided into three groups; the films using literary works as original texts, the films with mixed genres and the films dealing with Buddhist outlook of the world. Short Buddhist films show their differences in producing environment and aesthetic style. It's rare to see Buddhist films based on literary works. The end intends reconciliation because it reflects the images of Buddhism and its religious value to aim reconciliation. Three categories exist in Buddhist films. The first one includes the films reappearing the doctrines of Buddhism. The examples are <Ten Oxherding Pictures #2> and <Ten Oxherding Pictures #4, catching the ox- Two chinese quinces> by Ji-sang Lee and <Unidentified Following Object> by Eui-jung Baek. The second category contains the movies with mixed genres. The examples are <Red Butterfly> by Tae-hee Kim and <Buddha Style> by Jung-hyun Yu. The third category is about the movies intending an end of reconciliation using Buddhists and temples as a background. The examples are <April fools' day in a small temple> by Min-kyung Lee, <Separation> by Jae-ook Yu and <Namuamitabul Cristmas> by Gwan-ho Park. The films of Eui-jung Baek and Ji-sang Lee deal with a Buddhist world based on Ten Oxherding Pictures trying to find the truth and reincarnation. The Buddhist films with mixed genres show their attempts to integrate comedy movies, road movies and queer movies with the Buddhist outlook of world. The films of Min-kyung Lee, Jae-ook Yu and Gwan-ho Park focus on reconciliation. An reconciliation-focused ending structure is a narrative characteristics of Korean short Buddhist films, which helps to form positive images of Buddhism and contributes to adherence of the existing images of Buddhism. The lack of literary works as the original work and reconciliation-focused ends are the biggest characteristics of Korean short Buddhist films and they cause two different evaluations of the movies, enhancing the positive images and setting boundary of good movies. The Buddhism doctrine movies by Ji-sang Lee and Eui-jung Baek have accomplished the possibility to spread the spirit of Buddhism not in the form of words but in the form of visual images. Korean short Buddhist films solve the problem of lack of topics in short films and open up the chances to experiment open formality and possibility to communicate religious values.

Korean Buddhist films are divided into three groups; the films using literary works as original texts, the films with mixed genres and the films dealing with Buddhist outlook of the world. Short Buddhist films show their differences in producing environment and aesthetic style. It's rare to see Buddhist films based on literary works. The end intends reconciliation because it reflects the images of Buddhism and its religious value to aim reconciliation. Three categories exist in Buddhist films. The first one includes the films reappearing the doctrines of Buddhism. The examples are <Ten Oxherding Pictures #2> and <Ten Oxherding Pictures #4, catching the ox- Two chinese quinces> by Ji-sang Lee and <Unidentified Following Object> by Eui-jung Baek. The second category contains the movies with mixed genres. The examples are <Red Butterfly> by Tae-hee Kim and <Buddha Style> by Jung-hyun Yu. The third category is about the movies intending an end of reconciliation using Buddhists and temples as a background. The examples are <April fools' day in a small temple> by Min-kyung Lee, <Separation> by Jae-ook Yu and <Namuamitabul Cristmas> by Gwan-ho Park. The films of Eui-jung Baek and Ji-sang Lee deal with a Buddhist world based on Ten Oxherding Pictures trying to find the truth and reincarnation. The Buddhist films with mixed genres show their attempts to integrate comedy movies, road movies and queer movies with the Buddhist outlook of world. The films of Min-kyung Lee, Jae-ook Yu and Gwan-ho Park focus on reconciliation. An reconciliation-focused ending structure is a narrative characteristics of Korean short Buddhist films, which helps to form positive images of Buddhism and contributes to adherence of the existing images of Buddhism. The lack of literary works as the original work and reconciliation-focused ends are the biggest characteristics of Korean short Buddhist films and they cause two different evaluations of the movies, enhancing the positive images and setting boundary of good movies. The Buddhism doctrine movies by Ji-sang Lee and Eui-jung Baek have accomplished the possibility to spread the spirit of Buddhism not in the form of words but in the form of visual images. Korean short Buddhist films solve the problem of lack of topics in short films and open up the chances to experiment open formality and possibility to communicate religious values.

short Buddhist films, reconciliation-focused ending structure, <Ten Oxherding Pictures #4, catching the ox- Two chinese quinces>, <Unidentified Following Object>, <Namuamitabul Cristmas>.