대표어
한국학술지인용색인(NRF)
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This article examines the OTT dramas The King of Pigs (2022) and A Killer’s Shopping List (2024) as anti-hero narratives, with particular attention to how the sublime—already substantially articulated in their original source texts—is mediated, refracted, and reconfigured in the process of OTT dramas adaptation. The recent preference of OTT dramas for anti-hero narratives centered on private revenge is closely tied to contemporary social conditions marked by the internalization of survivalist individualism, widespread distrust and fatigue toward community and society, and anxieties and fears generated by the erosion of social safety nets and the absence of care. Within this context, the anti-hero emerges not as a merely transgressive or deviant figure, but as an aesthetic device that compels viewers to confront the abyss of failure, lack, fragmentation, and imbalance—an opaque and antagonistic embodiment of the real that mediates an oppressive and violent social reality resistant to transparent understanding or identification.
Drawing on Jean-François Lyotard’s conception of the sublime as a postmodern aesthetic and Slavoj Žižek’s deployment of the sublime within ideological critique, this study seeks to think through the relationship between the original texts and their drama adaptations while situating the inevitable aesthetic compromises and ethical instabilities of adaptation within the concrete condition of popular appeal. By analyzing the complex dynamics of identification and distancing, immersion and rupture operating within each narrative, the article reconceptualizes the sublime not as a leap toward emotional exaltation, but as a restrained rupture of sensibility, and elucidates its narrative effects in each work.
The King of Pigs reconstructs the original narrative of catastrophic failure and revenge through a romanticized affective register of mourning and friendship, thereby establishing the sublime as a “fictional veil” that sutures the wounds of the real. In this configuration, the sublime functions as an affective mechanism that mitigates rupture, displacing suffering into the past and subsuming it within the form of elegiac remembrance rather than confronting it as an ongoing problem. By contrast, A Killer’s Shopping List adopts a narrative structure and affective defamiliarization that deliberately fracture identification itself, dismantling the fantasy of the sublime object and inducing reflective distance. Here, the sublime operates less as an object of emotional elevation than as an aesthetic strategy that exposes its own falsity and instability.
Through this comparative analysis, the article argues that anti-hero narratives need not remain confined to vicarious gratification or generic pleasure. Instead, they can function as political and ethical spaces that prompt reflection on the structures of violence and disenchantment continually reproduced under conditions of survivalist individualism and the absence of care. In anti-hero narratives, the sublime no longer signifies heroic exaltation but serves as a threshold of the real, through which the fractures and contradictions of reality are experienced as calibrated ruptures of perception. This study ultimately suggests that, even amid the persistent demands for popular compromise inherent to the OTT drama format, such variations of the sublime continue to open up possibilities for aesthetic exploration and ethical reflection.권호기사
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