Abstract
ABSTRACT This article examines the practice of translating film noir through an analysis of Kim Sungsoo’s 2016 film Asura: The City of Madness, which developed the crime noir genre within South Korea. I argue that Kim Sungsoo uses the allegorical mode of film noir, and its stylistic and thematic elements, to explore and critique contemporary traumas and discontent in Korean society. I focus particularly on the film’s spatial aspects. I demonstrate how the film innovatively blends the local realities of urban redevelopment with the global influences of film noir, highlighting the genre’s capacity to critique the specific challenges and anxieties faced in contemporary Korean society. The analysis encompasses a close reading of the film’s key sequences and an interview I conducted with Kim Sungsoo, the director and screenwriter of Asura.
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