Reading the ‘new world’: neoliberalism in the South Korean gangster film

ABSTRACT

this article analyses some recent trends of theme, form and characterisation in South Korean gangster cinema. Using Beat (Biteu, Kim Sung-su, 1997), Bloody Tie (Sasaeng gyeoldan, Choi Ho, 2006) and New World (Sinsegye, Park Hoon-jung, 2013), these trends are considered within the context of neoliberal economics and ideology, both in their global manifestations and as particular to South Korea. The potential for a more neoliberal gangster type in South Korean cinema is considered: one who eschews the tropes of the traditional East Asian ‘gangster hero’ (such as moral righteousness and interpersonal care) and embraces a more competitive, individualistic worldview. By way of contrast between the three films studied, this article demonstrates how the generic diversification of the gangster protagonist in recent cinematic output corresponds with, and in many ways refers to, a wider ideological shift towards individualism and self-sufficiency in South Korea in the era of neoliberal globalisation.

KEYWORDS:

• South Korea
• neoliberalism
• gangster cinema
• urban space
• individualism

Disclosure statement

No potential conflict of interest was reported by the author.

Notes on the contributor

Graham Neil Gillespie is a PhD candidate in the Film Studies Department at King’s College London.

Notes

1 Segyehwa, which translates approximately as ‘globalisation’, was a term made popular in the 1990s as the watchword for the South Korean government's efforts to globalise the nation's economy through economic liberalisation and deregulation. These are the same economic tactics Harvey associates with neoliberalism: a comprehensive scaling back of the state to allow capital to move freely and globally.

Additional information

Funding

This work was supported by a Carnegie Scholarship from the Carnegie Trust for the Universities of Scotland.