After the Korean War, as the division of the Korean peninsula became permanent, anti-communism became a central concept to control the South Korean society. Especially as the former government, the Park Chung-hee administration, tightened the censorship and control, anti-communism was forced to in the field of art and culture (art and culture circle). This paper will show the difference in the form and content between the movie, <Flame>, which was one of the anti-communism movies produced in the 1970’s, and its original novel. Specifically, this study is intended to demonstrate the theme related to anti-communism with the comparative analysis of narration throughout the author’s original novel and film. And it shows how to emphasize the theme by Yu, Hyun-Mok, who led aesthetics of cinema in that period of time, with his technique of visualizing novel. To summarize the thesis of this study, Yu Hyun-Mok pictured well the content of the novel in his film to contain the theme of the novel <Flame>. Although therein lies the evidence of selectively modifying and reforming the narrative components, it is not intended to change the subject matter of the novel. Therefore, in case of <Flame>, it was faithful to the original one when it is planned to make a anti-communism film in the period of excessive censorship and control. Meanwhile, the remarkable thing about image esthetics in <Flame> is an elaborate plan of visualizing narrative to emphasize the theme. For instance, aural artistic equipment such as narration or sound is used to illustrate psychological change of the main character’s state of mind. And visualizing image makes it on the screen with image processing technique such as flashback and flashforward in a bid to connect current situation with something happened at the other time of period. In this process, the change in the state of mind of the main character who adopts anti-communism and is becoming activist having conscience was described with highly likely. This study has several meanings. First, both the way that the theme of the postwar-novel is put into an anti-communism film and its meaning can be inferred. Second, it gives a chance to get a glimpse of the image esthetical character which is visualized by Yu Hyun-Mok, one of the representative directors who lead literary films in those days. Lastly, we can understand the way of stress on anti-communism to audience in the history context of 1970’s. Today when we prepare for unification between the two Koreas, it is still remaining assignments for us to have a balanced view to deal with North Korea issues. In this point, we need to put more effort in research of narrative materials that remind us of the logic and the contents of anti-communism.