SNU Contemporary Korean Studies hosts irregular open seminars that invite domestic and international researchers to foster understanding and engagement with contemporary phenomena in Korea.

The August 9 seminar, organized by the K-Narrative Team, will explore the underdog narrative as a recurring thread in recent Korean cinema. We warmly encourage participation from interested members of the university community.

Title: Recent Korean Cinema and the Underdog Narrative

Presenter: Kang Woosung (Department of English Language & Literature, Seoul National University)

Panelists: Son Yu-kyung (Department of Korean Language & Literature, Seoul National University), Shin Hyeong-cheol (Department of English Language & Literature, Seoul National University), Yoon Kyung-hee (Interdisciplinary Program in Comparative Literature, Seoul National University)

Date & Time: August 9, 3:00–6:00 PM

Venue: Room 422, Building 14, Seoul National University

Format: In-person

On August 9, 2024, the K-narrative Team of SNU Contemporary Korean Studies hosted an open seminar titled “Recent Korean Films and the Underdog Narrative.” The event took place in Room 422 of Building 14, with Professor Kang Woosung (Department of English Language and Literature, SNU) as the main presenter. A panel discussion followed with Professors Son Youkyung (Korean Language and Literature, SNU), Shin Hyoung Cheol (English Language and Literature, SNU), and Kyung Hee Youn (Program of Comparative Literature, SNU).

Professor Kang discussed how the “underdog” motif has been represented in recent Korean films. Analyzing films such as “Sung-hye’s Country” (2018), “Microhabitat” (2018), “Nomadland” (2020), “Squid Game” (2021), and “Concrete Utopia” (2023), he examined how underdog figures reflect social precarity while also embodying broader cultural and psychological themes. His presentation emphasized both the challenges and the possibilities that such narratives open up for understanding Korean society and its place in a global context.

This colloquium provided a meaningful opportunity to reflect on the role of the underdog in Korean film. By situating these narratives within wider cultural debates, the discussion highlighted their ongoing relevance for questions of survival, identity, and community.