Do I look good? Dandyism and spiritual figures in Exhuma, the Wailing, and the Divine Fury
Faninda Wahyu Khaerani, Syahrul Hidayat, Fardh Aulia Hakim, Muhammad Syamsul, Ihsan Ikhlasul Amal
Jurnal Penelitian Humaniora October 3, 2026 DOI: 10.21831/hum.v31i2.79380 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Qualitative study Peer reviewed |
|---|---|
| Population | Three South Korean films: Exhuma, The Wailing, and The Divine Fury |
| Key findings | Argues that dandyism in these three films is expressed through shamanic and spiritual figures, with each film foregrounding a different configuration of Amann's three imaginations: anachronic and catastrophic in Exhuma, paranoid in The Wailing, and all three in The Divine Fury's Father Ahn. The authors propose that dandyism can be expressed through distinctive appearance, personal values, and resistance to conformity. |
Abstract
This study examines the representation of dandyism through shamanic and spiritual figures in the films Exhuma, The Wailing, and The Divine Fury, using Elisabeth Amann’s (2015) framework of the Three Imaginations: paranoid, catastrophic, and anachronic imagination. Employing a qualitative approach, the study analyzes visual and textual data from the films using Spradley’s data analysis technique. The findings reveal that dandyism is represented differently across the three films. In Exhuma, the shaman’s appearance and ritual practices reflect anachronic and catastrophic imagination. In The Wailing, the shaman’s ambiguous identity creates tension and reflects paranoid imagination, particularly through the character’s self-presentation and relationship with the surrounding community. In The Divine Fury, Father Ahn, a Catholic priest and exorcist, embodies all three forms of imagination through his distinctive priestly attire, rejection of materialistic values, and use of traditional religious practices in a contemporary urban setting. These representations demonstrate how dandyism can be expressed through distinctive appearances, personal values, and resistance to conformity. This study contributes to the understanding of dandyism in contemporary South Korean cinema and offers further insights into how spiritual figures are represented through the interplay of tradition, modernity, and individuality.