한국 현대 오컬트의 특성과 의미: 디스토피아적 세상에서 유토피아 꿈꾸기

Abstract

In this paper, I considered modern Korean occult as a different realist narrative from Western occult, and tried to prove this point through three works: <The Wailing>, <Gates of Darkness>, <SVAHA: The Sixth Finger>. modern Korean occult disguises the social realism narrative as a mystical narrative with a high-level tactic. The realism narrative is characterized by being summarized as the type of the time of the character, the perspective, and the social utility of the work. The modern Korean occult presents a Korean utopia as a prospect while having these characteristics intact. This is showed to depict a dystopian world by disguising the text itself as a high symbolic system and using a character with the typicality of the times as the main character. For this reason, the subject delivered by the constructed text is extremely social and utilitarian. In this article, it is difficult to apply this problem to Korean occult films that appeared before 2015, so it was proposed to call the Korean occult after <Gates of Darkness> divided into ‘modern Korean occult’ to distinguish it from the previous Korean occult. In the case of modern Korean occult, the social message is stronger, not the philosophical theological message. In the end, the target they criticize and want to correct is Christianity, which is considered to account for 1/5 of the Korean population. This is not a general characteristic of occult, but a Korean peculiarity, and it can be said to be a coordinate that informs our mental position. Modern Korean occult is growing into a genre containing social imagination. In this context, modern Korean occult is still a progressive genre. It is because the narrative that dreams of utopia in the most dystopian world, and it is occult.