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This thesis aims to study on the strategic of the deconstructed writing of Korean movie Bang-Ja-Jeon. The movie Bang-Ja-Jeon deconstructs traditional storytelling method of classical novel Chun- Hyang-Jeon and switches its description structure to postmodern style. The strategic afresh understands the structure and significance by deconstructing preconceived dichotomous and logocentric thinking. This study considered the descriptive structure of the movie Bang-Ja-Jeon according to deconstructive comprehension. Classical novel Chun-Hyang-Jeon, which is the original work of Bang-Ja-Jeon, is the love story of Chun-Hyang and Mong-Nyong. Bang-Ja-Jeon reconstructs the story of original work, placing Bang-Ja who was the servant of Mong-Nyong for the speaker. That is, not only Mong-Nyong, but Bang-Ja was also looking for Chun-Hyang’s affection. Through the adaptation, Bang-Ja-Jeon rejects logocentric development, that a sole core character leads a whole tale. From the aspect of composition, Bang-Ja-Jeon adopts the frame narrative and lets Bang-Ja speak the events so that it doesn’t follows the plot of the classics but using parodic technique. The deconstruction of characters is the most significant in Bang-Ja-Jeon which is deconstructively written. Bang-Ja-Jeon summons Bang-Ja to the center who was alienated by logocentrism. In consequent, it deconstructs dichotomy between heroes and extras. Bang-Ja loves Chun-Hyang whom Mong-Nyong also loves, and hugs Chun-Hyang earlier than Mong-Nyong. The aristocrats such as Mong-Nyong and Byeon-Hak-Do who aims hierarchy encounter a challenge on their identity and revolution. Contrary, Bang-Ja and women who are surrounding character resist and revolt. Introducing dramatized characters against common ideas, Bang-Ja-Jeon criticizes masculine-centered ideology that is ruling role of the society. In addition, Bang-Ja-Jeon satirizes the general sexual instinct of the humans through women characters who are frank and daring with their impulse and aristocrat characters who frequently says coarse joke. Bang-Ja-Jeon also destructs language. Bang-Ja-Jeon deconstructs binary language of Chun-Hyang-Jeon which integrates the art of aristocrats and commonalties, and expecially commands modern expression including vulgar and secret language. Popping vulgar and secret expression from a historical drama ridicule and damages traditional hierarchy and discipline. Besides, it describes dialogues between an aristocrats and a commonalties, a servant and a master, and a mother and a daughter. That is, a writing which opposes traditional and usual language reflects the writer’s world view which is skeptical on the existence and justifiability of center on logocentrism. The Bang-Ja-Jeon differs and defers the story and significance by perusing Chun-Hyang-Jeon again. For this point of view, the deconstructed writing of the writer of Bang-Ja-Jeon contributed to escaping commonly accepted ideas and extending the sphere of the text. It also has its limit. Bang-Ja-Jeon attaches its importance to appealing to popularity, consequently produce the characters who are already seen on popular dramas, in large quantities again. Especially, Chun-Hyang showed the disposition of famme-fatal in a flash but couldn’t overcome the passivity under male characters, so that it doesn’t present the overthrowing writing against the logocentrism on the original work. About popularity, Bang-Ja-Jeon deconstructs the original work and recontextualizes into erotic code, however, is just immersed in trifling. That is, it didn’t strived for the acquisition of its literary value.