Demonic Representations and Syncretic Religious Discourses in South Korean Horror Cinema: An Analysis of Saja: The Divine Fury (2019)

Despite the tendency of industrialization and urbanization to diminish religious affiliation in numerous countries, South Korea has witnessed the persistence of religion as a pivotal component of the modernization process. The escalating religious fervor that has been observed since 1945 has precipitated the accelerated expansion of Buddhist and Christian communities, in addition to traditional faiths such as Shamanism, Taoism, and Confucianism. Spiritual forces have permeated every aspect of South Korean society, playing a decisive role in the daily lives of individuals (Connor, 2002, p. 163). The development of the film industry in South Korea has been a part of the country's broader cultural and economic globalization strategy, with government subsidies and investments by large corporations. The Korean Wave (Hallyu) has provided a cultural diffusion that covers a wide range, from cinema to pop music, from digital games to fashion and traditional culture. Religious syncretism manifests across various domains of social life, with individuals partaking in both shamanist and Buddhist rites, while concurrently embracing Christian or Confucian practices. In the context of Korea, religious organizations have been observed to exert influence over national media networks, disseminate publications, and actively contribute to educational institutions and social services (Connor, 2002, p. 158). This study aims to examine the manner in which Satan and demonic representations are crafted in films drawing inspiration from religious traditions within South Korean cinema. The analysis will focus on cinematic depictions of exorcism and exorcism rituals, with an examination of the impact of Korean Shamanism, Satanism, and Christian faith on these films. The study is constrained to films released in the last decade that prominently feature demonic representations, with Saja: The Divine Fury (2019) serving as a case study. The present study aims to identify how satanic representations are portrayed in these productions and how the producers utilize biblical texts, symbols of satanism, and certain elements of Korean shamanism. To this end, a qualitative research method was adopted, and the phenomenology method was used to interpret the films within the framework of the hermeneutic approach (Aydın, 2019). The narrative structure, cultural expressions, genre characters, and visual descriptions of the films were analyzed through subtextual readings with genre and psychoanalytic criticism methods (Özden, 2004, p. 211). The psychoanalytic criticism method provides a framework for understanding the unconscious fears and myths of society through films (Wolfenstein, 1970). In this context, demonic representations were examined on the axis of the characters' past and future conflicts. Character development and cinematic reflections of fear were analyzed through the struggle between good and evil (Gabbard & Gabbard, 1999). The study of demonic representations in South Korean cinema provides a basis for new academic studies on Far Eastern mythology and Shamanism. Since the advent of cinema, the primary objective of films addressing religious phenomena has been to showcase and critique the merits and drawbacks of religious elements (Blizek & Yorulmaz, 2015). The present study aims to examine the manner in which a syncretic conception of Satan is forged in films drawing upon religious traditions and the cinematic portrayal of exorcism rituals. The study's conclusion indicates that Satan and demonic representations are present in many religious traditions and are important motifs that shape South Korean culture and social life, as well as individuals' perceptions. Cinema has frequently used Satan in the horror genre and offered different perspectives to the audience. By integrating Satan and demonic representations with melodramatic elements, South Korean cinema has historically fostered empathy for Satan among its audience. The actions of antagonists are frequently ascribed to Satan or malevolent spirits, thereby influencing viewers' perceptions of Satan and demonic representations. In conclusion, the belief in supernatural beings, such as demons, jinn, and spirits, is pervasive in many cultures worldwide. These beliefs often play a significant role in the interpretation of unexplained phenomena. Associated with concepts such as possession, disturbance, and death, these entities are recurrent themes in religious and cultural traditions. The syncretic nature of social and religious life in South Korea is also evident in cinematic works, particularly in horror films. These films serve as a narrative medium that reflects the emotional and psychological state of society. The growing cultural prominence of South Korea has led to an increased emphasis on academic research that combines diverse fields, such as religion and cinema. The analysis of devil-themed films offers insights into their psychological and social interpretations. From a social perspective, horror cinema inverts power relations, challenging established knowledge, and situates the experience of fear within the everyday structures of society. From a psychological vantage point, these films also serve to transform the metaphor of evil within the audience's inner world, thereby paving the way for the formation of diverse perceptions of religion.

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