Abstract
ABSTRACT This essay examines the two best known animated features directed by Yeon Sang-ho (1978-), The King of Pigs (2011) and The Fake (2013). Rather than characterizing these controversial and critically lauded animated features primarily as critical texts aimed at South Korean educational and religious institutions and practices, this essay brings his films in dialogue with the theories of animation developed by Imamura Tahei (1911–1986) as mediated through the historical analyses of Otsuka Eiji. By doing so, it attempts to illustrate the way Yeon's animated films draw upon the allegedly ‘limited’ palette and stylistics of animation to arrive at articulations of ‘realism of the body’ that resist ideological and social realist interpretations.
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