How is capitalism imagined in the Netflix series Squid Game?

A cinematographic analysis of how capitalism and real-life competition are portrayed by the extreme aestheticization of violence.

​​​Abstract

This paper provides a detailed cinematographic analysis of how capitalism is imagined and portrayed in the series Squid Game (2021) by delving into the concept of real life competition and from what factors it derives from, in relation to the formal analysis of the extreme aestheticization techniques used when representing this competition. In the series, the concept of inequality is conveyed to the audience through cinematography as well as the narration. The constructed world in the series offers individuals to compete for their life, and the only way to survive is to sacrifice others’. This dilemma may give the idea that the relation between society and the capitalist system co-exists together, and they are in constant interaction. Considering the real life competition of life and inequality potentially stemming from the system, it is important to understand how and in what ways this competition is reflected to the audience. The series quickly acquired fame due to its colorful mise-en-scene, cinematography, sound and narration. However, the content of the series is not as colorful as it seems. It seems that extreme aestheticization of violence is used to convey the deceptive nature of capitalism by making the ideology more aesthetic and pleasing to the eye. Thus, the paper identifies and evaluates the various cinematographic techniques that the director utilized in order to show and critique current modern society.

Key Words: Capitalism, Inequality, Korean Capitalism, Capitalist Realism, Aesthetics, Aestheticization of Violence, Violence in Horror

Introduction

In recent years, criticism of capitalism has become a popular subject matter especially in South Korean media. After the huge success of 2019 Oscar-winning South Korean film Parasite (2019) with an anti-capitalist theme, the South Korean television show, Squid Game (2021) has again captivated audiences around the world by becoming Netflix's most watched show after it premiered in September, drawing 111 million views (Agustin 2021). The protagonist of the series, Seong Gi-hun, is a divorced chauffeur in a lot of debt. One day he is invited to play a series of children’s games for a possibility of earning a huge amount of cash prize. He has no other choice, but accepting the offer. He is taken to an unknown location where he finds himself among 455 other players. They are all in extreme debt just as Seong Gi-hun. All the players wear green tracksuits, and are closely watched by masked guards wearing pink jumpsuits. A Front Man wears a black mask and black uniform, and oversees the games. In the first game, the players discover that the consequence of losing a game is death. The players must find a way to survive the physical and psychological aspects of each game to reach the final goal of earning the prize money. The show depicts a capitalist environment where money and personal worth become the dominant factors in determining the social status of each individual. The value and social status of individuals are simply measured by their personal wealth and socioeconomic status. In this social environment, extreme competition among members is accepted and even urged by modern society as a normal practice. The creator and director of the show, Hwang Dong-hyuk states that Squid Game is an allegorical story that depicts a modern capitalist society as an extreme competition of life. Squid Game tries to show various social issues of modern capitalist society including class issues, social injustice, psychological problems related to the system, and inequality.

Today modern societies are progressively being dominated and shaped by capitalist economic systems, and the recently introduced concept of capitalist realism defines a very logical framework for viewing capitalism and its effect on our lives and thoughts. British theorist Mark Fisher defines this concept as "the widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it”. (Fisher 2009, 6). This view suggests that the fall of the Soviet Union in 1991 solidified the global dominance of capitalism around the world with the defeat of communist ideology. During the Post–Cold War era, the East Asian economic model of capitalism, pioneered by Japan starting from 1950, has been presented as a successful case study competing with Western capitalist models. Three major East Asian economies ; Japan, South Korea and Taiwan are currently using this specific capitalist model, where their governments invest in certain sectors of their economy in order to stimulate the growth of specific industries in their private sectors (Kuznets 1988).

This paper will provide a cinematographic analysis of how capitalism is imagined and portrayed in the Netflix series, Squid Game (2021) by specifically concentrating on two possible consequences of the capitalist system on individuals: inequality and intense competition. Most of the people who participated in the games are in so much household debt, which causes them to see the games as the only way to cover their debts and escape from their miserable lives. The show explores the class issues and social injustice in the society through unique symbols represented in each episode by special cloths, masks, and colors. The extremely competitive and somehow hostile nature of capitalism is conveyed to the audience by using aestheticization of violence in various scenes during the bloody games. Therefore, the aim of this paper is to determine and analyze the specific cinematographic techniques used by the director in depicting and criticizing modern society.

Theoretical Framework and Literature

The series Squid Game (2021) is an outstanding example of how capitalist settings affect the lives of individuals, and the dynamics stemming from the hierarchical structures. This hierarchy within the society is strongly emphasized in the series by showcasing the inequality of opportunities through the class differences between the contestants and the rich (e.g.; Front Man and VIPs). Societies in the capitalist world are predicated on the idea that all members are on an equal basis, and any disparity arises as a result of the competition among those members. The series gives a creative representation of how society under capitalism functions by two sets of laws, one for the rich and another for the poor. The specific focus on class and inequality is mirrored primarily in the backdrop of modern South Korea; where major changes in the economy have been experienced in the previous sixty years after enduring fast industrialization in the aftermath of the Korean War. Nevertheless, the concept of “Capitalist Realism” coined by Mark Fisher is quintessential when considering the current global political situation which lacks visible alternatives to the capitalist system. The show not only uncovers the depths to which a person would go in order to earn money, but it also analyzes the competitiveness that arises as a result of the inherently exploitative character of capitalism. Even if the society is aware of the problems rooting from the unequal system of opportunities, the fear of being eliminated from the system -meaning not earning enough money to survive- creates blind obedience within the society. This fear is analyzed in relation to Kraucer’s theory on the Myth of Medusa, which is interpreted with regard to violence horror that paralyzes spectators. The hostile structure of the system is represented through the use of aestheticization with elements varying from mise-en-scene to editing. These elements are not used by chance, but rather chosen to give implicit symbolic meanings to evoke emotions in the spectators. Thus, the theoretical framework focuses on the literature regarding the concepts of Korean capitalism, inequality, capitalist realism, violence in horror and the extreme aestheticization of violence.

Korean Capitalism: Social Dynamics

After analyzing four prominent capitalist countries in detail - the United States, Japan, Sweden, and France – the economist Andrew Zimbalist concluded that none of these countries have pure capitalist systems, and they differ greatly among themselves (Zimbalist 1989, 7). That is why there are different models of capitalism around the world, and the exact forms of capitalism are determined based on the degree of competition in markets, existing price mechanism models, the degree of public ownership, and the level of government intervention and regulations (Pearce 1992, 52). The form of capitalism in South Korea was shaped by their unique historical experiences, cultural traits as well as their interactions with various cultures and countries throughout their history. After 35 years of Japanese colonial rule, Korea was divided into two countries in 1945: the Republic of Korea (South Korea) founded in 1948 and the Democratic People’s Republic of Korea (North Korea) founded in 1950. South Korea established a capitalist market economy and an anti-communist but authoritarian state. The First Republic has tried to mobilize and work with non-state business actors to promote economic development in the country between 1948 and 1960, but they have failed due to high corruption and favoritism. After the military coup in 1961, the authoritarian Park Chung Hee regime (1963–1979) achieved a very high level of economic growth by developing the existing “chaebol system” in the country (Taekyoon et al. 2011, 122). Chaebols are independent firms under the single common administrative and financial control of one family, and they are based on Japanese business groups called “Zaibatsus”, formed in the Empire of Japan during the Meiji Era (1868 – 1912) (Addicott 2017, 2). The Park regime has given preferential treatment to a handful of powerful families by awarding them with exclusive projects, especially in the military and construction industries. These chaebols greatly benefited from huge amounts of funds channeled through tax reductions, export subsidies or loans without collaterals (Murillo & Sung 2013, 5). With transition from authoritarianism to democracy in the late 1980s, chaebols have become multinational businesses beyond the control of the state. The following democratic governments have gradually started increasing regulatory policies over these chaebols based on the public pressure established in time due to unfair preferential status of chaebols and widespread corruption allegations. As it can be seen, the chaebol system has a huge impact on the model of capitalism in South Korea, and this system has become a subject of debate in the Korean public. Some claim that chaebols have made significant contributions to the rapid development of the South Korean economy, while others point out the issues related to them such as corrupt relations with government agencies, cronyism, and overall economic inequality resulting from their preferential status. The authors of the article, “Mixed Governance and Welfare in South Korea” argue that, in the late 1980s, the transition from authoritarianism to democracy led to the expansion of social insurance programs that aided a small segment of society into national-level programs that provided greater coverage; to the granting of greater bargaining power to trade unions; and to the weakening of the established network linking the state and capital, especially the large business conglomerates recognized as chaebol. Rising wages and the adoption of new social policies by the democratic regime (as well as the extension of effective existing policies) resulted in greater levels of redistribution, which greatly reduced income inequality (Taekyoon et al. 2011, 122). The ideology of the Korean state, which aimed to encourage both economic growth and social responsiveness by rewarding hard work and encouraging people to work, gave rise to the Korean model of occupational welfare. This model was developed to foster both economic growth and social responsiveness (Taekyoon et al. 2011, 125). On the other hand, some argue that the existing chaebol system has three major problems. First, chaebols tend to make dangerous investments since they have easy access to bank loans due to their preferential status. Second, the shareholders are suffering from internal trading or “tunneling” among chaebol affiliates. Finally, the positions in the groups or affiliates of chaebols are appointed by the owner's family without proper regard to their qualifications and causing economic inequality among the people working for these companies. That is why the public image of chaebols continues to deteriorate with allegations of fraud, corruption, and unfair competition (Murillo & Sung 2013, 7).

Concept of Inequality and Capitalist Realism

In her book “Social Inequality”, Booth argues that the world we live in is characterized by wide disparities and deep inequalities. In a place where inequality is getting worse, the growing gap between those who have the most and those who have the least is said to be as a result of elitism, exclusion, prejudice, greed and despair (Booth 2017, 2). The underlying point of the argument is that inequality continues because the dominant global ideology justifies it by blaming individuals and deflecting attention away from the most powerful and wealthy. The concept of “social class” is examined in accordance with what Weber calls a system of rankings. In socially stratified societies, individuals are ranked based on their common characteristics (e.g., income status, hobbies, lifestyle). As a reference from Bourdieu (1984), theoretical interpretation of the characteristics within the social class is analyzed in accordance with the concept of “habitus”:

“...upper-class habits are marked by an aesthetic disposition in which art and music are appreciated as part of the cultural capital possessed by such groups. Comparatively, working-class habits are influenced by economics and conformity. Habits operate to reinforce class inequality because individuals feel comfortable in their own habits and perceive a higher-class habitus as being at odds with their own experiences and viewpoints. Therefore, taste simultaneously unites and separates” (cited in Booth, 47)..

As a consequence of different opportunities available to them, individuals from different positions within the system lead varying lifestyles and pursue various interests. This discrepancy becomes a factor in the rivalry between different social classes, and creates some strong emotions such as greed in lower social classes. It is discussed that social stratification is crucial within society since it presents various benefits in terms of how society functions. Societies have complicated occupational systems with different levels of priority of jobs. Those in higher-level positions are more skilled and therefore demand higher rewards. As David and Moore further point out, such occupations are also the most functionally significant and hence come with higher incentives tied to them, both monetarily in terms of higher compensation and with accompanying prestige (cited in Booth, 2017, 41). In meritocratic contexts, however, having a system that gives unequal benefits is about empowering individuals to do more and receive higher rewards (41). Therefore, the concept of rewards gives rise to many complexities in societal settings, causing extreme competition and overwhelming desire for earning more money and wealth.

According to Bauman, evil can manifest itself in a variety of ways in modern societies. It can be found in the industry of fear that is media reporting and political discourse, in consumers, and in “TINA”' an abbreviation meaning “there is no alternative” to capitalism, consumption, and the way we currently live (cited in Booth, 2017, 22). On that note, the book, “Capitalist Realism” by Mark Fisher critiques the recent narrow-minded point of views regarding diminishing our ability to envisage political alternatives, as well as capitalism’s profound ideological impact on society’s collective, social psyche. Fisher examines some fundamental strains and contradictions in contemporary capitalism's ideological armor. Corresponding to Booth’s argument, TINA, Fisher implies a belief system that capitalism is not just the only viable political and economic system, but it is also impossible to envisage a system that is not capitalism (Fisher 2009, 6). Fisher then argues how anti-capitalism is widely disseminated in capitalism, where some media productions feed into it rather than challenging it (16). These productions sometimes aesthetically manipulate films to facilitate the system’s smooth operations, where the reality is altered. Even though audiences acknowledge the system and its impact on society, they still continue to participate in it candidly. In terms of perceptions related to capitalism, Fisher developed the concept of "reflexive impotence," which characterizes a phenomenon in which individuals realize capitalism's flaws, but believe that there is no way of fixing it. This inaction, according to Fisher, creates a self-fulfilling prophecy as well as a negative impact on societies’ mental health (21). The prevalence of mental health plague in capitalist cultures provides evidence that, rather than being the sole social system that is working, capitalism is inherently corrupt (19). While trying to keep up with the intensity of life, time and social life have to be compromised. This dysfunctional nature of the system causes over exploitation of labor, and therefore results in dissatisfied communities. The reason why this dissatisfaction arises is that the representation of possibilities; which is explained as the “imaginations” in capitalist settings. The greed of earning more creates a sense of individualistic perspective where morality is replaced by feeling. The system not only encourages more of an individualistic perspective, but also creates an atmosphere where everyone feels the same (78).

Aesthetics: Violence in Horror

According to Kraucer, cinema not only confronts the audience with their fears, but also forces them to confront the events depicted with their preconceived notions. In his book, Theory of Film: The Redemption of Physical Reality, he asserts that film captures a view of a world that has never been seen before yet is accessible to everyone due to the medium's accessibility to capturing an exploration of physical reality (Kraucer 1997, 299). It is argued that film art is reactionary because it represents wholeness and hence pretends to the continuous presence of beliefs that cover physical reality in both meanings of the word. As a result, films maintain the prevalent abstractness (302). The cinema exhibits phenomena whose appearance in the witness stand is of particular consequence. It confronts the spectator with the things they fear and pushes them to face real-life events. Kraucer further elaborates on the concept of violence in horror with the interpretation of the Myth of Medusa:

“…whose face, with its huge teeth and protruding tongue, was so horrible that the sheer sight of it turned men and beasts into stone. When Athena insti- gated Perseus to slay the monster, she therefore warned him never to look at the face itself but only at its mirror reflection in the polished shield she had given him” (Kraucer 1997, 305).

Actual horrors are said to be unseen because they paralyze us with blinding fear which is why we can never see them because they are merely reflections in the mirror. These images have nothing in common with the artist’s imagined representation of an unseen dread but are in the nature of mirror reflections. Athena's polished shield, adds Kraucer, is now a metaphor for all of the media, which is holding up a mirror to the natural world. As a result of our reliance on it, we can see occurrences that would otherwise petrify us (305).

In Squid Gama, the element of aestheticization is widely used when showcasing violence. Bruder defines aestheticization of violence as “the depiction of violence in a stylistically excessive, significant and sustained manner” (Bruder 2003). It is argued that the representation of violence must be deep enough that it creates empathy, engagement, commitment and acknowledgement of the issue (3). These rational kinds of pleasures are stated to be based in language, narrative and character development. The author further elaborates on the idea that the aesthetically represented chaos and disorder of contemporary society is the discursive construction of violence in cultural productions. In the series, it can be observed that even though the games have deadly twists, they are represented as aesthetically pleasing where the colors are saturated and bright, the setting is neat, and the classical music playing in the background reminisces elegant culture. On that note, Bruder states that movies with aestheticized violence disregards the standard realist practices of editing and cinematography in order to secularize the action being played out on the screen.

Furthermore, in The Fascination of Film Violence by Henry Bacon; the use of violence in the diegetic world, and how cinematic violence is made tolerable and even enjoyable are discussed in detail. The book especially focuses on the aesthetic presentation of violence in films by examining its explicit and implicit representations. Despite the fact that violence is often regarded as terrifying and dreadful, its depictions provide some form of pleasure to a considerable majority of people. In connection with the series, both the explicit and implicit meaning of the violent games are in need to be analyzed since they may convey a deeper message where the societal problems are reflected. In an aesthetic environment, it is argued that, those negative fundamental reactions might elicit a range of meta-emotions as a means of coping with, and even gaining a form of quasi-mastery over, the fears and worries that the mere concept of violence elicits in most of us (Bacon 2015, 86).

Methodology

The primary method of investigation for this thesis is a formal analysis of the Netflix series Squid Game (2021), which dissects the complex synthesis of cinematography, sound, composition, design, movement, performance, and editing orchestrated by creative artists such as screenwriters, directors, cinematographers, actors, editors, sound designers, and art directors, as well as many craftspeople who put their visions into action (Barsam and Monahan 2019). The message in the series’, Squid Game (2021) is conveyed through a variety of different forms, from straightforward narrative information like; where and when a particular scene takes place to more subtle inferred meaning like mood, tone, significance, or what a character is thinking or feeling. As it can also be observed in the series, the extreme competition of life is adapted to the game itself, where individuals fight over for their lives and the prize money. Therefore, it is quintessential to analyze how the competition of life is represented in the series, and which cinematographic techniques contributed to the overall tone of it. This particular methodology is used to bring out the symbolic meanings behind certain cinematic elements in this show. In order to understand in what ways the criticism of the system is done -and with what elements are used to convey these messages- it is important to analyze how capitalism is imagined in the series.

Analysis

Inequality Sanctioned by Capitalism

While Netflix Inc.'s smash hit Squid Game has become a significant global success for the South Korea's entertainment industry, the show has also shown the darker side of their socio-economic system to the global audience. Squid Game's depiction of desperate players staking their lives to win 45.6 billion won (approximately $39 million) bet by super-rich VIP spectators, contains numerous genuine moments reflecting South Koreans' everyday problems. It can be stated that this artificial hierarchy constructed between the players and VIPs clearly demonstrates the socio-economic inequality in the country resulting from the existing political and economic system. In order to understand the roots of inequality, it is important to understand how South Korea lifted itself from the ashes of the devastating Korean war. The astonishing progress made by South Korea's economy has been extensively acclaimed by the global world. Just a few decades after the Korean War's devastation, the country was able to rise to the ranks of developed nations (Taekyoon et al. 2011, 120). A comprehensive examination of South Korean social policy, economic growth, poverty, and inequality demonstrates that the country's accomplishments arose not only from governmental coercion but from the policies that encouraged business and non-profit organizations to participate in the country's governance in various forms. As previously introduced in detail, the economic system in South Korea was established based on the chaebol system in the form of a non-Western model of state-driven capitalist economic growth. (Murillo & Sung, 2013, Page 9) The large business conglomerates in South Korea were deliberately created and supported to become champions of a fast growing South Korean economy. Chaebols such as Samsung, Hyundai, LG and Lotte Group, have played a vital role in developing new industries, markets, and export production for the South Korean economy, and named South Korea as one of the Four Asian Tigers (Hong Kong, South Korea, Singapore, and Taiwan). On the other hand, with the enormous power accumulated in time by chaebols with full government backing, these businesses and NGOs started to dominate the majority of the South Korean economy in time, leading to over-competition in labor and unemployment. The deregulation of the labor market, along with other structural changes, has often led to job insecurity and uncertainty, higher competition, more economic inequality, a commodification of social services and protections, and a transfer of market risk from the state to working-class families (Walter & Zhang 2012, 104). South Korean society is currently confronted with new challenges, notwithstanding the country's economic and political growth. An aging population and a widening wage gap between regular and non-regular workers threaten to reverse the progress the country has made thus far (Taekyoon et al. 2011, 133). A recent academic study shows that rising labor union membership strongly contributes to closing the income gap between the richest and poorest (Merrefield 2021). Unfortunately, in the case of South Korea, the labor unions have never been powerful and very effective due to the close ties between the government and chaebols. There are only two legally recognized labor unions in South Korea. These unions claim that the South Korean government has always repressed unions since the very beginning, and has caused them to have a very small bargaining capacity with chaebols. That is why only 2 million workers are members of any union in a country with a population of 51 million by 2019 (“South Korea: Unions and Labor Relations'' 2019).

In a world where work and life become inseparable, the idea of “capital” constructs individuals’ dreams. As Fisher argues, “Time ceases to be linear, becomes chaotic, broken down into punctiform divisions… Periods of work alternate with periods of unemployment. Typically, you find yourself employed in a series of short-term jobs, unable to plan for the future.” (Fisher, 2009, p.38). The series Squid Game holds up a mirror to the reality of our time, and showcases how unequal the socio-economic system is by criticizing the social stratification and its detrimental impacts on society. In the series, protagonist Seong Gi-hun is portrayed as a divorced father who struggles financially supporting his daughter. It is introduced that he had been working at Dragon Motors for almost sixteen years until he lost his job due to the owner going bankrupt. After various attempts at different jobs, including owning a fried chicken restaurant and working as a driver for five years; the unstable life-style and poverty caused him to become addicted to horse race betting. This gambling addiction and continuously losing money in bets put him in the hands of a group of loan sharks who violently threatened him to pay them back his debts with incredible interest rates. Taking these into account, his social status can be analyzed with regards to inequality stemming from class differences. According to Max Weber, “social class is a ranking system based upon access to resources including wealth, education and work-related status” (Weber 1978; Lareau and Conley 2008). It is argued that social class assumptions perpetuate inequality and demonstrate that social class is significant (Booth 2012, 41). People's behavior is motivated by their social position, which becomes increasingly relevant in locations with larger degrees of inequality. While some members of the upper classes may attempt to isolate themselves, for example, by living in gated communities, others may be excluded due to a lack of authority and social standing (49).

The setting of the protagonist's house in the series gives hindsight about his socioeconomic status, as it is located in a northern neighborhood of Seoul that is geographically and economically in opposition to the upscale Gangnam district. South Korea's Banjihas first served as bunkers to defend civilians during the war with North Korea in 1953. After the 1980 housing crisis, South Korea relaxed construction restrictions and authorized Banjihas to function as legit residences (Koo 1999). However, the bunker-style structure, which is around five to seven steps below street level, causes lack of air flow and mold formation. This not only risks the lives of individuals in terms of health, but also puts them in a position where their accessibility to resources becomes limited. It is argued that inequality in access to resources has a high potential leading to further division based upon economic status and social class position of individuals (Markus and Stephens 2017). In the first episode, the neighborhood of Gi-hun is introduced by a starving stray cat, which symbolizes the poverty of the area. While Gi-hun is himself hungry, he generously shares his food with the cat, representing his compassion. Therefore, these "Banjiha" dwellings have become a symbol of a widening disparity that has gotten worse throughout the years.

In the following scene, Gi-hun is portrayed as a single man who nearly lost everything, including his family, and is desperately in need of money. As he is waiting for the subway, a well-dressed man approaches him and asks if he wants to earn 10,000 won by playing an old children's game “Ddakji”. Nonetheless, Gi-hun agrees to play even though knowing that if he loses he needs to get slapped. This specific behavior shows the desperation of the individual to survive in the system. Gi-hun simply disregards his pride and basic rights, and runs the risk just to provide for his daughter’s livelihood. This particular scene shows the extreme lengths that a person can go to earn money if he or she is in despair. After the game has ended, the man gives Gi-hun a card, and invites him to play more games to earn more money, and eventually end his poverty. After pondering for a long time, and feeling hopeless about his future, he finally decides to call the number on the card, which changes his life forever.

According to Booth, the world in which we live is unfair, unequal and full of inequality (Booth 2017, 1). The class division within the society is explained with the term stratification, where individuals are ranked based on common characteristics. As argued by Giddens, the possibilities and experiences that people have in life are directly related to where they stand socially and professionally. In the scene (see Figure 1) where Gi-hun is waiting for them to pick him up for the game, the extreme long shot of him is showcased with a background of modern buildings. He is again, placed in the down-right corner of the frame, and barely noticeable. The extreme long shot creates a frame where Gi-hun’s status and significance, representing also the status and significance of the poor people of society, are overshadowed and dominated by cosmopolitan and capitalist society, symbolized by the gigantic skyscrapers. The fancy buildings and apartments are also unfamiliar sites for Gi-hun, as he lives in a poor Banjihas dwelling, he is completely alienated to the wealthier population of the society.

The opening episode establishes that crushing debt of individuals is a prominent element of Squid Game as a major motivating factor for the contestants. The game recruiter is very well aware of Gi-hun's debt to loan sharks totaling 160 million won and another 255 million won to banks, and deliberately using his weakness to encourage him to join the game. However, it is later revealed that he is not the only one struggling with debt problems, but there are 455 other participants facing similar debt issues and living in despair. The protagonist’s gamble addiction is portrayed in a crowded, poor environment where everyone is tackling and fighting with each other. In Season 1

Episode 1, as Gi-hun is watching the horse race, he is placed in the left bottom corner of the frame and out of focus, which puts him in a position that is insignificant (See Figure 2a). This specific shot can be analyzed with the front man watching them in the opening game. The front man is placed in the middle of the frame with a noticeable symmetry, and is full on focus, watching the contestants getting killed (See Figure 2b). This specific use of framing effectively underlines the irony that Gi-hun, being the main character of the series and one of the most influential participants in the game, is almost pushed out of the frame while the front man is fully visible and in the center. This particular style was used to point out the social status of both characters in the society; the elite is always dominantly visible and heard, where the stories of the poor are rarely told with the same amount of significance.

When it comes to socially learned dispositions, habitus is a complicated notion that describes how individuals learn to behave in a particular way through social interaction. This comprises abilities, methods of behaving, and routines. It is assumed that they are learned through the actions and experiences of ordinary life and that they are instinctive (Booth 2012, 48). The aesthetic disposition of upper-class habitus is characterized by an appreciation for art and music that is seen as a component of the cultural capital acquired by these groups (Bourdieu, 1984 56). For instance, another important tool used to emphasize the division between the wealthy elite and the poor is the use of sound in Season 1 Episode 7. The classical music that accompanies the VIPs creates a stark contrast between the traditional folklore music of Korea when the contestants are competing. This difference poses the problem of the clash of Western vs Eastern cultures, in which the English-speaking VIP’s represent the Western world and the contestants symbolize Eastern communities. In addition to that, the VIP’s are shown to embody a more international and global identity, when compared to the contestants. The fact that the competitors speak only in Korean while the VIP’s all speak in English, constructs a model of the crushing magnitude of the violent society -as represented by the VIP elites - and the oppressed and downtrodden common folk. The costume design further demonstrates this division and class difference; the contestants are all wearing the same uniform outfits, regardless of their age, nationality and gender. They are all dressed in turquoise sweatpants and zippers with white T-shirts underneath. This pretty basic way of clothing of the contestants in a singular design, contradicts with the VIP’s extravagant, luxurious, colorful and independent way of dressing. The choice of particular clothing in the series conveys the message that the contestants’ individualities are stripped away from them, while the VIP’s get to show their differences and uniqueness with the way they dress. The differences in the display of VIPs and the contestants can be interpreted in comparison with East Asian and Western capitalist models.

Capitalism in Squid Game’s Constructed Realism

It is believed that Korea's modernization has been marked by a high level of social conflict; contradictions between modernity and tradition, as well as external and national ideals; the inequality depicted in the performance underscores system critique, notably centered on the Korean socioeconomic model (Hagen 1999). The fictional universe in the series reflects the real-world difficulties in South Korea, as people are constantly on the lookout for new ways of making money while also contending with fierce societal pressure. Since the system is argued to be the only viable political one, members are willing to join even when they recognize its subversive nature (Fisher 2009, 6). The constructed world in the Squid Game offers individuals to compete for their lives, and the only way to survive is to sacrifice others’. After encountering the first game and realizing its deadly twists, some of the contestants show rebellion against the violence it presents, and ask to have an option to leave the game. As their cries are heard, the front man makes an announcement where he offers an option to end the game and leave the prize behind. However, this is only applicable if the majority of the contestants agree on it. As the voting is finalized the contestants are free to go, they are proposed to come back if they change their mind. Even the contestants, including the protagonist, vote for ending the game because of its brutality. However, after facing real life problems and poverty, they chose to come back to the game by their own will. This specific action can be analyzed with regards to the concept of reflexive impotence, which describes the phenomena of people who are aware of capitalism's defects but believe that there is no other way to correct them. It's a self-fulfilling prophecy that has a detrimental effect on their mental health (12). These people acknowledge how repressive the system is, and the risks that it poses to their lives; however, they still participate in the games by simply embracing the system as the only viable one. According to Zizek, today’s society appears to be post-ideological where people no longer believe in ideological truth, they rather blind themselves to the structural power of ideological fantasy (cited in Fisher, 2009, 17). People are enticed by the benefits that will accrue to them because of their participation in the capitalist system since, in general, the system provides its participants with an abundance of opportunities. The allure of what you can achieve when you are successful is highly tempting, and it always makes you think that you can accomplish more. Just like the participants returning to the game knowing the vital consequences, even though a large majority of people in capitalist societies are dissatisfied with the system itself since it does not offer them sufficient work prospects or income level they desire, the same individuals continuously vote to keep capitalism alive. “Capitalist realism can only be threatened if it is shown to be in some way inconsistent or untenable, that is to say, capitalism’s ostensible “realism” turns out to be nothing of the sort” (20). Thus, it is further argued that politics determines what is considered "realistic," or what appears possible, at any given point in society. An ideological viewpoint will never be truly successful unless it is naturalized, and it cannot be naturalized while still considered a value rather than a fact.

Fisher elaborates on the concept of reflexive impotence in his book Capitalist Realism, which corresponds to the views of De Angelis and Harvie, who critique the managers' belief that "there is no alternative" (TINA) to capitalism itself. Even if individuals are aware of system flaws and their negative consequences, they are encouraged to disregard them in order to succeed in the system; since they accept it as the only reliable alternative. If one just concentrates on the negative aspects of the system and loses interest in participating, they will eventually be dispelled. Therefore, people are entitled to continue to engage in capitalist exchange as long as they believe that capitalism is unjust (21). Corresponding to the theory on reflexive impotence, the way people are blinded by the dread of being erased from the system can be analyzed in accordance with the concept of violence in horror. In Kraucer’s book “Film in our Time'', the concept is explained through the myth of Medusa, whose face, with its huge teeth and protruding tongue, turned men and beasts into stone. According to the myth, when Athena instigated Perseus to slay the monster, she warned him never to look at her face but only at the mirror reflection in the polished shield given to him. The myth conveys the idea that it is impossible to see actual horrors since they paralyze us with a blinding fear; and these images have nothing in common with the artist’s imaginative rendering of an unseen dread but are in the nature of mirror reflections (Kraucer 1997, 305).

In the first game of Squid Game, red light - green light, within the five-minute time restriction, players had to successfully reach to the other end of an enclosed field, where Young-hee, a huge robotic doll, was positioned. When the doll says "green light," players are free to move, but if the doll says "red light," they must stand still while the doll scans their motions. If the participants do not stay stable as a stone, they are disqualified and shot to death. Once the verdict is passed and some contestants are shot because they could not abide by the rules, the remaining participants must continue to stay still as paralyzed by the blinding fear of being killed. It seems that the players are intentionally put in this paralyzed state, where they have to remain still in order to survive, to convey

the idea that the set rules of the system in the real world cannot be directly faced or challenged. It is reasonable to implement the assumption that the doll represents authority in society, and when individuals are confronted with it—in this case, by criticizing its flaws—they are simply eliminated. The subdued shot taken from a low angle of the doll illustrates the repression and brutal force of authority (See Figure 3). The close-up view of the doll's eyes conveys the message that people are being watched over and over again by the system itself, and that the smallest error can have devastating repercussions. Accordingly, Kracauer argues that now all the media and cinema, “holds up a mirror to nature and reality; hence our dependence on it for the reflection of happenings which would petrify us were we to encounter them in real life.” (Kraucer 1997). Therefore, Kraucer takes Athena’s polished shield as a representation of the film screen, where the images on the shield induce the spectator to behead the horror they mirror. In the series, the frontman who is watching the game might be interpreted in several ways depending on the mirror reflections. He is a representation of the most privileged and elite members of society, in the case of South Korea - privileged chaebol families; these people are aware of the inefficiencies and cruelty of the system since they follow it through the media. According to what Curtis asserts, “In a world of individualism, everyone is trapped within their own feelings, trapped within their own imaginations.” (Cited in Fisher, 2009, 78). For instance, in the game, the contestants are unaware that they are constantly being monitored, and the one-sided glass wall represents the ignorance of the wealthy, who are only concerned with their own enjoyment of life. The series uses the metaphor of a one-sided glass wall to criticize the ignorance of the educated elite part of society. These people are aware of the challenges posed by the system and the detrimental consequences it has on society, but they choose to ignore the reality behind it on purpose because they are not willing to change it.

The series somehow manipulates the system in an aesthetically pleasing manner in order to support its smooth operation by modifying reality. The elements of mise-en-scene are particularly important in the series since they help to create the so-called "constructed" reality of everyday life. As demonstrated in figure 4, this scene shows a piggy bank hanging from the ceiling, which has been filled with the reward money.

For the purposes of this particular aerial shot, the money ball appears to be the sun in our world, which is a necessary factor for human beings to survive in today’s society. Hence, the location of the moneyball and its yellowish light convey the message to the audience that money is now as important as the sun for these participants. While the aerial shot of the moneyball showcases the significance of money for human survival with its big and gleaming structure, it also demonstrates how participants are negligible. It is not possible to observe the participants, they are shown in a crowd which symbolizes today’s society and their dependence on money. This shot highlights the universality of this dependence by showcasing participants in a state of community, where “morality has been replaced by feeling” (Fisher 2009, 78). The participants are blinded by the desire to achieve that money despite their moral codes. Since money is a necessary element of life to exist in capitalist societies, money becomes a necessary evil. The concept of “reward” in this constructed world can be analyzed from a meritocratic perspective, where it is claimed that “greater rewards will go to those who possess greater abilities” (Booth 2012, 37). In accordance, Badiou states that humanity is hugely dependent on contradictions in which all existence is evaluated in terms of money (cited in Fisher, 2009, 9). In a world where rivalry for living is highly prevalent, the series criticizes the magnitude of the situation by integrating real-life competitiveness and the violence that results from it with the system of rewards. Despite the fact that people regard money to be nothing more than a pointless symbol with no real value, they continue to treat it as if it possesses a transcendent significance. It is only because they have already established an ironic distance from money in their minds that they are able to fetishize money in their acts (Fisher 2009, 17). This ideological distance is symbolized through the piggybank hanging from the ceiling, hardly reachable. Money has such an important role in capitalism that it almost dominates and shapes people's lives. The moneyball is continuously shown throughout the series as hanging from the ceiling in the open instead of being kept in a safe-deposit box as it should be , in order to demonstrate how inaccessible it is for some people in the society. On the other hand, the same moneyball in the open for the contestants to observe throughout the games symbolizes the necessary incentive or fuel for their continuous greed for money. Therefore, the particular location of the moneyball symbolizes how money dominates humanity in capitalist settings.

Aestheticized Violence: The Extreme Competition of Life in Squid Game

Aestheticization techniques are employed throughout the series, from narration to editing, in order to make cinematic violence palatable and even appealing. The strong impacts caused by violent outbursts can also separate the spectator from the limits of realism and traditional moral conventions, which can be destabilizing for the spectator (Bacon 2015, 87). When it comes to representing violence, in order to achieve specific generic effects, this is a crucial component of the process. The mise-en-scene and sound design are two of the most prominent parts of aestheticization; in particular, the settings of the games are designed in such a way that they allow the audience to engage themselves to the fullest. The system of oppression on individuals and its effects on their well-being, as well as their psychology, are represented throughout the series by the elements of violence. In the first episode of the series, Gi-hun mentions a memory from his childhood, and explains the original “Squid Game”, by stressing that violence is intrinsically driven into people from childhood to adolescence.

“In order to win, the attackers must tap the space in the squid’s head with their foot. And, in that moment, I felt as if I owned the entire world. If the shoves you and you step on or out of the grid, you die. That's right. You die.” (Squid Game, 2021, Episode 1, 58:25)

With the use of first-person narration, the inner thought of the protagonist is revealed. Since this quote is from the opening scene of the first episode, it carries a role of introduction. As he explains the brutality of the game, Gi-hun addresses the audience by creating a sense of dialogue. This scene carries a role of highlighting the diegesis, where the story world within which characters live and interact with their own set of rules and customs are presented by the concept of violence. The intended goal of this specific game can be explained by how modern societies are shaping young minds starting from their childhood and normalizing the concept of violence through various methods. While the series may appear to critique excessive need for competition, it may also be utilizing this concept to the fullest. Children’s games are usually innocent, and the implication of violence in these games are somehow globally accepted. This means that this quote from Gi-hun foreshadows the violent scheme that he will find himself in, in the following episodes.

Film violence, according to Giroux, investigates the intricate contractions that form human agency, the limits of logic, and the existential dilemmas that bind us to other human beings and the broader social world (cited in Bruder, 2003, 3). The ending sequence of the first game, “red light, green light”, the techniques of aestheticization are exquisitely used to reflect the real life competition. The sequence begins with a close-up shot of the front man’s hand holding a remote controller, which then turns on the screen to show participants in the game being massacred one by one. This particular shot demonstrates how the media can be a powerful instrument in both reflecting daily life challenges and fostering ignorance in individuals who are only concerned with their own profit. The image then shifts to an aesthetically pleasing sequence with a close-up shot of the "Jazz" sign, tilting slowly to reveal a muppet band singing a cover of "Fly Me to the Moon" (Won 2021). The selection of western jazz music demonstrates how western culture is broadly diffused in capitalist contexts, and hence criticizes the society's elite features. When watching the game on a large screen, the frontman is in the center of the frame, with a backlight that generates silhouettes and a shining effect on him. This is utilized to generate a dramatic impression and to emphasize the issue in an enigmatic manner. The slow zoom out and frame-within-frame composition suggest that some of the wealthy isolate themselves from daily life problems, and that even if they are aware of them through the media, they do not take action to improve how the system works. The slow-motion editing approach is then employed to draw attention to the minor details as well as to create an aesthetically pleasing atmosphere, with a rapid shift to the playground where the participants are running for their lives. The sequence is significant in terms of reflecting the competition brought by the system; people are trapped in their own ambition to accomplish their desires and even put themselves in danger. For many people, the only way to get what they want out of life and work is to compete fiercely against others. The slow motion footage is used into an intricate montage sequence that features multiple lines of action as well as flash graphics. The culmination of these factors results in a complex aesthetic and psychological texture (Bacon 2015, 98). As a result, these precise images concentrate on the characters' emotional reactions, highlighting their competitive natures and avarice.

The fears of contestants are effectively conveyed to the audience by using various representations of violent acts. It was clearly suggested that people require skills to cope not only with the things that they are afraid of, but also with the ways in which they react to their fears. This can be accomplished in a whimsical manner, such as in fantasies or fiction, giving us the opportunity to securely and even enjoyably experience sensations that are associated with the thing that we dread (Bacon 2015, 115). Ironically, the music creates an aesthetic environment that contrasts with the violent activities taking place in the background, and it portrays the lethal game as a sophisticated dance rather than a brutal scene; reflecting the fierce competition of life. It is expected that the displayed pressure which the games puts on contestants, compounded by the fact that the greed resulting from the oppression, may generate a moral dilemma in the audience. The visual motifs and techniques utilized in the series, on the other hand, serve to distract the audience from this reality and draw them into their own ideal world of imaginations.

An outstanding example of the aestheticization of violence in the series can be observed in Season 1, Episode 7, where the VIP’s are watching the “Glass-Bridge” game as the contestants fight for their lives. First, the rule-of-thirds and symmetry composition that can be observed in the VIP’s room, create a false sense of balance and justice within the audience. In a place where inequality is getting worse, the growing gap between those who have the most and those who have the least is said to be as a result of elitism, exclusion, prejudice, greed and despair (Booth 2017, 2).

As it can be seen from Figure 5a, everything in the room appears to be perfectly and meticulously placed, as if these people are representatives of everything that is right in our world. Needless to say, there is a huge misleading representation of the VIP’s and what they represent. This can also be observed through the use of a wide range of colors; the aestheticization of the room is portrayed especially by gold and silver, which showcase the VIP’s elite lifestyle and their wealth, as opposed to the contestants. Furthermore, the red dominant atmosphere symbolizes the spilling of blood in the pursuit of better life. This is also visible in the way the setting is designed. There is a clear theme of jungle; with branches, green trees, leopard designs and motifs. The idea of “survival of the fittest” is already encouraged by the set design and decor. As it is in a jungle, the contestants are all fighting for survival in a violent environment in which one mistake can mean the end of your life. This natural representation of violence is also observable through the VIP’s masks (See Figure 5b). They all have masks of predators, like lions, bears, tigers, etc. While this symbolizes the predator versus prey dynamic in nature; the colors of their masks (silver and gold), creates a deeper division between the wealth of the VIP and the pureness and poverty of the competitors.

Another prop that underlines the aestheticization of violence in the series is the chess board, which showcases the contestants' attempt to cross the glass bridge as they fall to their deaths one by one. This game is made to be a fun attraction and show for the VIPs, in a sense that they are passively watching the real violence unfolding before them through a game of simple and innocent chess. Furthermore, the game acts as a model of the way that ordinary individuals in a capitalist society are literally seen as simple pawns. The front man symbolizes the elite class - chaebols in South Korea - that holds unmatched power and wealth which allows him to act as controller and reinforcer of the system that continuously suppresses the lower class.

“Although violence is generally thought to be something frightening and horrifying, for a significant if not major part of the population its representations award pleasures of sorts.” (Bacon 2015, 86). The representation of violence is therefore important when cultivating pleasures within the spectator. In the episode 8, “Front Man”, the mise-en-scene aims to reflect how the world of opportunities are richly presented to the contestants, e.g., as Booth defines with the term, “the system of rewards”. The introductory shot starts with the classical music, “An der schönen, blauen Donau - Walzer, Op. 314” (Strauss II 1867). This song is stereotypically used in all genres of film and TV shows to emphasize a satirical adaptation of violence and destruction-packed scenes. The contrast between the audio -the soft and mellow nature of the song- and the visuals -explosive, fast-paced scenes- creates an irony that is utilized by directors to aestheticize violence. With a similar vision, the Squid Game utilizes this particular song in the scene where a richly decorated diner table , prepared for the remaining contestants, is shown from above. Although the visuals lack any violence at the time being, this scene implies the incoming final act of violent competition with a great irony.

The final contestants are granted a fancy dinner; candles are lit, cutlery is meticulously placed, the plates and the food are displayed in an extremely organized manner, top quality wine and steak are served as the contestants await instructions. This is the first time the contestants were treated with dignity and respect, and served a similar dinner shown in the prior episode, in which VIPs were treated with extravagant meals and drinks. In a way, the organizers and the rich allow the poor contestants a glimpse of their privileged lifestyles after all their suffering , knowing that they would never have the opportunity to eat such sumptuous food in real life. The aim of this extravagant dinner is to provide a clue to each contestant for what will happen in the case they win the game. The dinner, therefore, symbolizes the world of opportunities granted by the capitalist system. A significant emphasis on a system of rewards is a crucial component of a competition-stimulating environment that drives individuals to achieve more. This is also underlined through the symbolism of the triangle table with the contribution of an aerial shot (See Figure 6).

With each contestant placed on the one side of the triangle, they are simply put in a position where they need to make a final decision to take each other's lives; thus creating an atmosphere of interrogation. Therefore, it can be argued that the triangle signifies the power that may be acquired through attaining equilibrium after making a tough decision and mark the cycles of growth that lead to a higher state of being. This particular aerial shot illustrates the superiority of the wealthy over those in lower social classes by showing them looking down on those in disadvantaged backgrounds. Furthermore, when analyzing this particular mise-en-scene, the selection of colors play an important role when determining the tone of the scene, as well as when evoking moods in the audience. The dominance of black and yellow color palette is significant when analyzing how this selection of colors resembles the emotion of the contestants. While the color yellow symbolizes dishonesty, cowardice, betrayal, jealousy; black symbolizes evil, fear, sadness and anger. Consequently, the episode evokes each mentioned state of emotions by exposing them to the final game.

Regarding their costumes, the final players are depicted as privileged and respected individuals in elegant and expensive clothing in this scene in order to imply that one of them is only one step away from a world that is designed with luxury, elegance, and prosperity. This can be analyzed in line with the ideal image of distinguished “white-collar” people in capitalist settings. The white-collar workers historically have been associated with a traditional dress code of “button-down dress shirt and tie”, required for the people working in office jobs and management, who do not earn their living by using their hands in manual labor. In this scene, even though the remaining contestants are portrayed well-dressed, in suits and ties; in reality, they are still wearing a sort of uniform, with nothing to distinguish one from the other. This can be supported by Fisher’s idea on “empire of self”, where he argues that everyone feels the same without ever escaping a condition of solipsism (Fisher, 2009, p.78). Thus, individuals sharing the same ambition and greed are possessed with the same ideology of life, and become undifferentiated within the society.

Discussion & Conclusion

The form of capitalism in the East Asian countries, including South Korea, has been closely monitored in the post–Cold War era, and their new economic models have been portrayed as successful case studies competing with Western capitalist models. Even though South Korea has achieved remarkable success in economic growth since the 1960s, the debate over the economic inequality in the country has expanded dramatically, expressing itself in every aspect of social life, from shopping habits and lifestyles to residential segregation and educational opportunities. While millions of ordinary Koreans struggle to survive in the existing capitalist system, the country’s elites, mainly named as chaebol families, maintain an iron grip on the overall economy. The latest dystopian survival drama Squid Game (2021) on Netflix deals directly and allegorically with the grim realities of life in South Korea under the existing capitalist system.

The "death game" in Squid Game (2021), which is powered by widespread desperation and the logic of lotteries, is presented as a symbol of the capitalistic world in which we all live and accept as a normal practice. The entire concept of the games at the core of the story depicts a capitalist economic system in which people are required to surrender all of their time and even their bodies in exchange for the means of survival under the constant competition aiming “survival of the fittest” by utilizing the components of aestheticization, the series portrays the growing discontent of ordinary people towards socioeconomic inequality in the country by illustrating the real life rivalry and somewhat violent nature of capitalism. Since the capitalist system is adapted in many developed countries in one form or another, the idea of capitalism has been the target of a great deal of criticism, particularly in relation to the nations whose economies are overall prosperous, but the majority of their citizens are suffering due to economic and social inequality.

The detailed cinematographic analysis of this globally acclaimed TV series revealed that the public image of capitalist systems continuously deteriorating not only in South Korea, but around the world due to economic and social inequalities and intense competition required by the system. Even if capitalism is often regarded as the only viable economic system especially in developed countries, it favors those who are already successful by rewarding them and excluding those who are unable to maintain their position within the system. As a result, there are disparities in the opportunities available to the rich and poor in the society, which results in a fierce battle for survival between social classes. Inequality is something that naturally arises in societies that are based on the capitalist economic model. This idea is supported by the concepts of social stratification and class distinctions presented by Bruder. As Weber argues, a person's level of access to various resources, such as monetary wealth, educational opportunities, and employment opportunities, is what establishes their social class. In the series, the class differences are boldly shown to the audience with a special emphasis on a sharp comparison between the elites who hold the power to control the games, and the low-class debt-laden participants who are battling for the prize money regardless of its deadly consequences.

As Fisher states, the recent narrowing of political possibilities, as well as the profound ideological grasp that capitalism has on the collective -social psyche- diminishes our ability to envisage political alternatives. Although the capitalist system has some flaws in its basis, undoubtedly, it is also a major driver of innovation, wealth, and prosperity in the modern era. The system drives individuals to work harder; and as a result, urges humanity to advance further. When there is capital, when there is money, investment power increases, and these advances happen as a result of these investments. Another feature of the capitalist system is that it ensures that this progress is sustainable. As a result of the capitalist system, more products are produced and more development is made. While this brings a great deal of prosperity and happiness to these people, those who are not successful enough in this system, or those who do not have enough opportunities and cannot benefit from them, are left behind to that extent; which leads to inequalities in the society and also to unhappiness, just as portrayed in Squid Game. The capitalism system truly displays ambition in people's own genes, the urge to earn more. People who aspire to greater wealth, power, and fame bring about their own misery by indulging in such irrational desires. Normally, the system would have considerably more beneficial results if individuals adopted the notion that money is merely a means to an aim. Thus, in the capitalist system, mankind might evolve faster, develop more, create more employment, make more investments, and the money earned is employed in more equitable, efficient and shared areas. The human profile that emerges as a result of capitalism often generates a society that is ravenous and always strives for more. As a result, based on the detailed analysis provided in this paper, it is concluded that achieved international success and high ratings of the TV series, Squid Game (2021), is the result of very effective and successful portrayal of globally criticised elements of capitalism - inequality and intense competition environment - through efficiently and successfully utilized cinematographic and aestheticization techniques.

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