시각 언어를 통해 본 <오징어 게임>의 세계성

Abstract

This paper examined the role of visual language in Squid Game, which, in the course of eliciting empathy from Western viewers, has adopted Korean-style mise-en-scène that brings back fondable memories of the past in many middle-aged Koreans. To that end, this paper sheds light on the fairytale space, which has been mentioned as the most notable feature in the mise-en-scène of Squid Game through the lens of ‘parallelism’, one of the key techniques of surrealism. Next, based on the work of René Magritte, one of the representative artists of surrealism, The Menaced Assassin and the world of his work, we look into the characteristics of the world represented by the ○△□ space. Finally, we contemplate on ○△□, which, having served as a symbol of Bauhaus, goes beyond the implications of a mere survival game space in Squid Game, into creating a new layer as the symbol of neoliberalism where inequality runs rampant and the dignity of human life has disappeared in the name of capitalism. Through this, it has been confirmed that the Squid Game was able to overcome the ‘1mm barrier’ through the mobility of visual language and proceed to become the K-content that people around the world can relate to.