Animation Style as Inner Emigration -Expressionism in Yŏn Sang-ho’s The King of Pigs (TWAEJIŬI WANG, 2011)-
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Traditionally, animations have been considered inappropriate for the representation of social reality, since the artificiality of drawn images is more befitting of fairytales and fantasies. In contrast, this study observes that the way animated characters look, act, and emote constitute the fabric of the diegetic world. It suggests that if an animation presents a social issue, the performativity of the character bodies imparts a specific view of that social reality. This study analyzes the Korean animation, The King of Pigs (2011), to illustrate how the animated characters act out shame and anger as a means of denouncing school violence and exploitative human relationships. To supplement the discussion, it references German Expressionism and its underlying mentality of inner emigration. Primary colors and figural distortions were used in Expressionist paintings to capture the fear and anxiety that overwhelmed turn-of-the-century Europe. This study notes that The King of Pigs adopts similar Expressionistic devices to describe dysfunctional social systems and their emotional repercussions. It concludes that the embodied world of the animation activates the viewer’s emotions to construct social realism.
Abstract
Traditionally, animations have been considered inappropriate for the representation of social reality, since the artificiality of drawn images is more befitting of fairytales and fantasies. In contrast, this study observes that the way animated characters look, act, and emote constitute the fabric of the diegetic world. It suggests that if an animation presents a social issue, the performativity of the character bodies imparts a specific view of that social reality. This study analyzes the Korean animation, The King of Pigs (2011), to illustrate how the animated characters act out shame and anger as a means of denouncing school violence and exploitative human relationships. To supplement the discussion, it references German Expressionism and its underlying mentality of inner emigration. Primary colors and figural distortions were used in Expressionist paintings to capture the fear and anxiety that overwhelmed turn-of-the-century Europe. This study notes that The King of Pigs adopts similar Expressionistic devices to describe dysfunctional social systems and their emotional repercussions. It concludes that the embodied world of the animation activates the viewer’s emotions to construct social realism.
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