The Neo-Positive Value of Symbolic Representations and Ritual Politics: Reconsidering the South Korean Allegory in Popular Film, Asura: The City of Madness

Abstract

The article is a preliminary effort to join neo-positive and historical institutional analysis from comparative politics with insights from discursive and phenomenological analysis. It highlights a message arising from a South Korean film related to moral–ethical dimensions and the implications of development policy. Taken in symbolic as well as empirical terms, the film proffers that economic development policy not attending to political institutional development—including correct institutional practices at the micro-level—is feeding Asia’s demons (e.g., asuras) rather than its forces of stability and (rational, democratic, participatory) political order. The film suggests that institutional atrophy and social decay may emerge from the breakdown of political institutions and participatory politics as a political system moves from rationalized institutions and practices into what the current work calls, “mafia politics.” Political ritual and political theatre are actively employed in the film in ritualized acts of the desecration of political order. The current work suggests that the analysis of symbolic representations relating to ritual politics and performativity (e.g., “political theatre”) located in certain art forms, such as international film, may be useful in studies of religion and politics, and in qualitative comparative political and historical institutional analysis more broadly.