Blood Imports: The Rise of K-Vampires

Abstract

In recent years, the vampire film has emerged as a popular genre in South Korea—moving away from the more mythical and local legendary folktale monster like kumiho or dokkaebi, which has characterized previous Korean films. Considering the nationalistic nature of Korean cinema, storytelling, and culture in general, this sudden rise of cinematic vampires is a puzzling phenomenon. What does it mean in Korean culture? What social, political, and psychological transitions and/or emergencies in South Korea have led to this phenomenon? In addition, what can we learn about the development of this centuries-old monster that has gained immense popularity in a non-Christian foreign land? The main goal of this research is to investigate the factors behind the sudden rise of vampire narratives in South Korean cinema and drama. The research begins with examining the transformation of Horror in Korean cinema through a historical lens, focusing on the categorization of the vampire genre, as well as identifying the earliest vampiric film produced in Korea. The purpose of exploring the history of the Horror genre is not merely to understand its evolution, but to observe the vampiric traits that influenced its popularity, or lack thereof, during different periods. Moreover, the thesis delves into the elements of Korean horror, including the five prevalent tropes, the characteristics of han, and the melodramatic effects, to analyze the extent to which these elements are present in contemporary vampire narratives. Critics have debated the hybrid portrayal of vampires in Korean cinema, noting a blend of various representations that blur traditional distinctions associated with these creatures but without fully accounting for them. This thesis also explores how globalization and modernization have impacted the rise of vampires in South Korean media culture, presenting the vampire as a cultural product. By analyzing the relationship between South Korea’s evolving economic status (GDP) and the consumption of vampire media, the thesis highlights the economic and cultural drivers contributing to the emergence of this trend. Using the Cultural Distance (CD) theory, this thesis examines the disparities between product-producing and product-consuming countries, highlighting the inevitability of “glocalization,” demonstrating how global influences are tailored to local contexts, thereby shaping the proliferation of vampire media in South Korea. Hence, the hybrid nature is a key element influencing the popularity and acceptance of vampire films in Korea. By using Roland Robertson’s glocalization theory, this thesis hypothesizes that as vampires cross into Korean borders, they inevitably undergo a process of glocalization, resulting in a hybridized form that is influenced by various aspects of the local culture. In the penultimate chapter, the research explores three distinctive narratives—Park Chan-wook’s Thirst (2009), the independent film The Vampire Lives Next Door to Us (2015), and the webtoon series Bite Sisters (2021)—to examine how each utilizes vampirism as a narrative device as well as a mechanism for social criticism and historical reflection. It also investigates how each creator incorporates recognizable elements of Korean folklore with traditional vampire traits, creating a hybrid that resonates more deeply with Korean audiences. Analyzing these narratives across different media is essential for unraveling the multifaceted appeal of the vampire genre in Korea and answering the central questions of this thesis.