폭력의 재귀적 운동에 대한 징후적 독해—<소년심판>, <지금 우리 학교는>, <D.P.>를 중심으로

Abstract

The purpose of this study is to symptomatically read the Netflix original series’ that depict the system and cultural characteristics of Korea realistically from the perspective of the ‘emergence of social structural violence.’ The central characters of the three works spend their adolescence and youth in environments rife with extreme violence. The covert ideology that enables a violent environment can be discussed in terms of the power and operation of state apparatuses discussed by Althusser. Although the subject matter and circumstances vary, the violence experienced by the central characters evokes the ‘mechanics problem’ that must be resolved by social imagination. To begin, Juvenile Justice depicts a situation in which the law, which functions as both a repressive and an ideological state apparatus, fails to accomplish its stated purpose. It accurately depicts the holes in juvenile law as a conduit for the dominant ideology shared by the older generation. As a result, the recursive nature of violence experienced through juvenile offenders underscores the necessity of ‘speculative justice.’ The ‘Jonas Virus,’ which emerges in All of Us Are Dead, occurs when an established society prioritizes its own survival while neglecting school violence. The virus then spreads rapidly among students who have exploited one another in order to establish themselves in a stratified society. Both the surviving children and Cheolbi denounce the social system that facilitates the spread of violence and, at the same time, denounce the older generation’s propensity to discipline. Finally, D.P. focuses on the process of carrying out the mission of ‘deserter pursuit,’ which accurately depicts the military discipline system’s oppressive use of consensual violence in response to the appearance of a sign of exceptionality. D.P. depicts the cycle of violence within the repressive state apparatus that is the military and calls on the prisoners to take a stand.