Roman Husarski

Visiting Hell parks is a popular pastime in contemporary Thailand. Situated near Buddhist temples, these gruesome sculpture gardens depict the Buddhist vision of Hell. These grotesque and violent sculptures are usually seen as an oddity and a form of low art. Perhaps for this reason, they are rarely studied by scholars. This article focuses on the parks as modern entertainment. Usually found in rural areas, these spots try to answer the challenges of the commercialisation and globalisation of Thai society. A detailed analysis of four Hell parks, Wang Saen Suk, Wat Pa Lak Roi, Wat Pa Non Sawan and Wat Pa Thewapithak, shows that these religious amusement parks serve not only as means of entertainment but are also places of Buddhist morality.

* This work was supported by the Jagiellonian University’s Council of Students’Academic Associations as part of the Badanie nieortodoksyjnych świątyń buddyjskich w północno-wschodniej Tajlandii i Birmie [Study of unorthodox Buddhist temples in Northeast Thailand and Myanmar] Grant.

For a long time, the world thought that the collapse of the USSR in 1991 would lead to a similar outcome in North Korea. Although the Kim regime suffered harsh economic troubles, it was able to distance itself from communism without facing an ideological crisis and losing mass support. The same core political myths are still in use today. However, after the DPRK left the ideas of socialist realism behind, it has become clearer that the ideology of the country is a political religion. Now, its propaganda is using more supernatural elements than ever before. A good example is the movie The Big-Game Hunter (Maengsu sanyangkkun) in which the Japanese are trying to desacralize Paektu Mountain, but instead experience the fury of the holy mountain in the form of thunderbolts. The movie was produced in 2011 by P’yo Kwang, one of the most successful North Korean directors. It was filmed in the same year Kim Chŏng-ŭn came to power. The aim of the paper is to show the evolution of the DPRK political myth in North Korean cinema, in which The Big-Game Hunter seems to be another step in the process of mythologization. It is crucial to understand how the propaganda works, as it is still largely the cinema that shapes the attitudes and imagination of the people of the DPRK.