세계와 대지의 투쟁: 하이데거 예술론을 통한 하마구치 류스케의 〈아사코〉와 〈악은 존재하지 않는다〉 연구 = The Struggle between World and Earth: A Heideggerian Aesthetics of Hamaguchi Ryusuke’s Asako I & II and Evil Does Not Exist

다국어 초록 (Multilingual Abstract)

This study analyzes Ryusuke Hamaguchi’s films Asako I & II (2019) and Evil Does Not Exist (2024) through Martin Heidegger’s concept of the struggle between World (Welt) and Earth (Erde) as articulated in The Origin of the Work of Art. For Heidegger, the artwork is a site in which truth (alētheia) comes into appearance, and truth emerges through the tension between disclosure and concealment. This perspective enables an interpretation of Hamaguchi’s realism not as mere factual representation or psychological expression, but as an event (Ereignis) in which Being sensuously manifests itself. In Asako I & II, the formation and disruption of love reveal the opening and fracturing of a world, while moments of theatrical interruption and silence mark the emergence of Earth as concealment. In Evil Does Not Exist, the conflict between nature and human community discloses a point at which the world fails to provide stable meaning, and Earth appears as the residue of the unspoken and the unarticulable. Both films construct an ontological realism that arises from the irreducible gap between World and Earth, compelling the viewer to dwell within that interval. This study demonstrates that Hamaguchi’s films operate as artworks in which truth takes place, thereby affirming the relevance of Heidegger’s aesthetics as a productive theoretical framework for contemporary film analysis.