ABSTRACT
Parasite (2019), directed by South Korean Director Bong Joon-ho, serves as a provocative exploration of inequality, deceit, and the human condition, as it follows the intertwined lives of two families from vastly different socioeconomic backgrounds. Drawing inspiration from Kim Ki-young’s The Housemaid (1960), this iconoclastic film dissects the complexities of privilege and exploitation, shedding light on the hidden struggles beneath the façade of prosperity. Through a qualitative analysis of narrative structure, character development, and visual symbolism, this study seeks to uncover the underlying messages and implications of Parasite within the context of broader social discourse, drawing on structuralism, Marxist, and postmodern frameworks to analyze the film’s critique of capitalism, social mobility, and the inherent struggles within a rigid class system. By unraveling these underlying themes, the study contributes to the academic discourse on inequality, examining how Parasite mirrors the precariousness of upward mobility in today’s hyper-competitive, capitalist society.
KEYWORDS
Class struggle, deception, inequality, privilege, visual symbolism, socio-economic themes
“돈이다리미야. 돈이구김살을다펴”
“Money is an iron. It smoothes out all the wrinkles.”
- Chung-sook (the poor Kim family mother) on the rich Park family.
Image 1. The poor Kim family shown in their home, struggling for small sum of money by making pizza boxes and that too in a hurry (Parasite, 2019), Wordpress.com. https://scriptophile551675913.wordpress.com/wp-content/uploads/2019/09/par1.jpeg
Parasite, directed by Bong Joon-ho, is a masterful South Korean dark comedy thriller that delves deep into the chasms of social inequality: it follows the impoverished Kim family, who live in a cramped, semi-basement apartment, struggling to survive on low-paying, menial jobs.[1] In a cunning scheme, they gradually infiltrate the wealthy Park family’s household, each member securing a position by deceit. The stark contrast between the Kims’ dim, cluttered living conditions and the Parks’ expensive, modern, and sunlit home, visually underscores the economic divide and represents class disparity in present-day South Korea. The Kims’ semi-basement symbolizes their marginalization, the Parks’ house represents unreachable wealth, “the scholar’s rock” (a symbol of prosperity presented to the poor Kims by Ki-woo’s friend) is a deceptive promise of prosperity, and the devastating flood in one of the major scenes poignantly highlights the precariousness of the poor.
The cinematography reinforces these themes, using vertical space to depict class mobility, with the Kims perpetually climbing stairs to reach the Parks’ home, and lighting to distinguish their dark, shadowy world from the Parks’ bright, airy environment.[2] Key scenes, such as the peach allergy scheme, the basement reveal, and the chaotic birthday party climax, further illustrate the lengths to which the poor must go to survive and the hidden despair within opulence. The film’s portrayal of these stark contrasts mirrors the societal issues in contemporary Korea, where economic disparity and class tensions are significant concerns. The title Parasite metaphorically represents the symbiotic yet exploitative relationship between the wealthy Park family and the struggling Kim family, highlighting class disparity and social inequality. It suggests how both the rich and the poor, in different ways, depend on, and exploit, each other within a capitalist system.
South Korea’s “Dirt Spoon and Gold Spoon” Theory
Twentieth- and twenty-first century history divides South Korean society into a few generations, starting with people who lived in extreme poverty in the 1950s and the 1960s immediately after the Korean War; people who got to taste the fruits of rapid economic growth in the 1970s and the 1980s; people affected directly by economic shocks during the Asian financial crisis of 1997 and thereafter; people who entered the labor market after the crisis; and finally, the unhappy experience of Korean millennials. Each generation turned out to be significantly different from the others based on the socio-economic tremors that rocked the landscape. In particular, the millennials share a similar, unstable social environment.
In a survey of 45 countries in 2021, 73 percent of South Korean millennials who were surveyed stated that wealth was distributed “not fairly equally” or “not at all equally”—which was higher than the global level of 69 percent.[3] The findings demonstrate that South Korean millennials are witnessing the emergence of a “new status order” in their society.[4] In this scenario, South Koreans are increasingly using the terms “the dirt spoon” and “the gold spoon” in reference to the English idiom, to be “born with a silver spoon in one’s mouth.” It has led to the arrival of the so-called “spoon class theory discourse” which is based on the idea that a person’s socio-economic achievement is determined by their parents’ income and family background, regardless of one’s efforts.[5]
And so, since 2015, millennials in South Korea have used the “spoon class theory” in online communities.[6] Originating in language and emotion, the theory nonetheless indicates a widespread social perception, mainly among young people, that economic opportunities are not equally available for everyone. The “self-ridiculing discourse” reveals the depth of the younger generation’s animosity toward society.[7] South Korean millennials are extremely dissatisfied with the wide disparities in the economic life of social groups, as well as with the inadequate compensation for their efforts in the workplace.
The study found the existence of significant gaps among the regions of South Korea in terms of the level of economic development, and public and educational services. Inequality remains a social phenomenon, even though there has been a reduction in gender inequality in the labor market and the gender wage-gap.[8] It further found that the proportion of people living in condominiums increases as economic status increases; and in contrast, the proportion of people living in multiplex housing units tends to increase with a lower economic status.
The factors that determine unfavorable socio-economic condition of millennials are region, gender, and father’s job—where region has an enormous impact on an individual’s socio-economic achievement, and gender plays a major role in contributing to the inequality of opportunity, indicating that females may have fewer equal opportunities. The study showed that the father’s job and educational background are considered more important than the mother’s.[9]
The study demonstrates the existence of a huge regional disparity in South Korean society—seen in phrases representing specific spaces, such as the capital metropolitan area versus rural provinces, in-Seoul versus out-of-Seoul, and Gangnam (rich, south of the Han River) versus Gangbuk (poor, north of the Han River), which reflect an individual’s identity, social status, and class.[10] Where one grew up affects one’s achievements in South Korean society in many ways because “inequality can be structurally reproduced if a certain group of people living in a certain area monopolize opportunities, or if some people are spatially excluded from opportunities provided by society.”[11] The study recommends that since“ these factors remain influential from birth to adulthood, removing the conditions that structure them would be one way to achieve equality of opportunity.”[12] It argues that the ultimate goal of society is to find policies that minimize the impact of circumstances and make the results more sensitive to effort.
This analysis offers an opportunity to segue to the film under discussion. Having garnered four Academy Awards, Parasite not only captivates with its thrilling narrative but also serves as a critique of the class divide, making it a significant and thought-provoking cinematic achievement.[13]
A list of the characters presented below would help in understanding this article:
The Poor Kims:
Song Kang-ho as Kim Ki-tek (the father).
Jang Hye-jin as Chung-sook (the mother).
Choi Woo-shik as Kim Ki-woo (the son).
Park So-dam as Kim Ki-jung (the daughter).
The Housekeeper and her Husband:
Lee Jung-eun as Moon-gwang (the housekeeper).
Park Myung-hoon as Oh-Geun-sae (Moon-gwang’s husband).
The Rich Parks:
Lee Sun-kyun as Park Dong-ik (the wealthy father).
Cho Yeo-jeong as Choi Yeon-kyo (the wealthy mother).
Jung Ji-so as Park Da-hye (the daughter).
Jung Hyun-jun as Park Da-song (the son).
Bong Joon-ho’s Use of Biological Metaphors: Reflecting Social Divide in Parasite
Image 2. Scene from the movie, Hitting the Insect, signifying the presence of the parasite which is a representation of the metaphorical creature on which the movie Parasite is based. https://screenmusings.org/movie/blu-ray/Parasite/pages/Parasite-005.htm
Korean director Bong Joon-ho employs a distinctive approach of using biological metaphors in titling his films, which often reflect thematic elements and narrative structures.[14] This is notably exemplified in Parasite (2019), where the title not only denotes a literal interpretation of infiltration and dependency but also metaphorically underscores the socio-economic disparities explored throughout the film. Bong’s previous works, such as The Host[15] (2006) and Okja[16] (2017), similarly utilize biological entities to symbolize broader societal issues.[17] In The Host, a monstrous creature emerges from environmental neglect, reflecting ecological concerns intertwined with family dynamics. Likewise, Okja delves into animal rights and corporate exploitation through the relationship between a young girl and a genetically modified super pig.
In Parasite, the metaphorical use of the parasite aligns with the narrative, where the impoverished Kim family subtly infiltrates the affluent Park family’s life, each member strategically embedding themselves into the household. The Kims initially view their actions as a means of economic survival, akin to a parasite exploiting a host for sustenance. As tensions and deceptions escalate, however, the narrative unveils deeper layers of dependency and manipulation, echoing the complexities inherent in societal hierarchies. The film’s characters embody different facets of parasitic behavior: from the deceptive yet resourceful Kims to the oblivious but unwittingly enabling Parks. The stark contrast in their living conditions and aspirations underscore a broader critique of class inequality in contemporary South Korean society.
Bong Joon-ho’s meticulous direction and narrative craftsmanship are complemented by the film's visual and symbolic elements. The Kims’ semi-basement residence with its dim lighting and cramped spaces, serves as a stark contrast to the Parks’ modern, spacious home bathed in natural light. The visual dichotomy not only underscores the economic divide but also reflects the metaphorical darkness and light within the characters’ moral dilemmas. The climactic sequences, including a chaotic birthday party and a basement revelation, further intensify the narrative tension, exposing the underlying tensions and vulnerabilities of both families.
The idea of the “parasite” exemplifies Bong Joon-ho’s adeptness at using biological metaphors to explore complex societal themes. Through a lens of a parasitic relationship, the film poignantly critiques class disparity and societal inequities while maintaining a connected narrative that resonates on multiple levels. Bong’s consistent use of biological entities in his film titles and narratives underscores his unique storytelling approach, blending social commentary with compelling characters and plotlines.
Thematic Parallels between The Housemaid and Parasite
Like The Housemaid, Parasite is almost entirely set in a house and deals with a domestic worker trying to dismantle the upper-class family she works for.Bong Joon-ho once said in an interview, “It’s a crime melodrama that deals with women’s sexual desires and Korean society at the time and the changing social classes. It does a great job depicting that.”[18]
Bong Joon-ho has openly acknowledged the profound influence of Kim Ki-young’s classic Korean film, The Housemaid (1960), on his own masterpiece, Parasite, made almost sixty years later. Both films intricately explore the complexities of class division and the dynamics of power within households, albeit through different narrative lenses and contexts. In The Housemaid, Kim Ki-young portrays the disruption caused to a middleclass family by the arrival of a manipulative housemaid who insidiously infiltrates their lives, exploiting their vulnerabilities and desires. The film delves deep into themes of desire, repression, and the destructive consequences of forbidden relationships, all set against a backdrop of societal norms and expectations. Similarly, in Parasite, Bong Joon-ho examines the infiltration of the impoverished Kim family into the affluent Park household. Here, the Kims’ use deception and manipulation to secure employment, and to gradually integrate themselves into the lives of the Parks. The narrative unfolds with tension and suspense as the Kims navigate their dual identities, exposing the stark contrasts in social status and the lengths individuals will go to in pursuit of economic stability and upward mobility. Both films share a psychological intensity in their portrayal of characters driven by ambition, desperation, and a quest for survival in environments marked by economic disparity.
The directors themselves took distinct yet complementary approaches to storytelling. Kim Ki-young was known for his provocative and avant-garde style, often challenging societal norms and conventions through his films.[19] The Housemaid stands as a testament to his ability to weave suspense and psychological drama into a compelling narrative that resonates with universal themes. In contrast, Bong Joon-ho has carved out a reputation for blending social commentary with genre elements, creating films that entertain while offering incisive critiques of contemporary society. His meticulous attention to detail, coupled with a penchant for dark humor and unexpected twists, distinguishes his work and has earned him global acclaim.
Rationale for Comparative Analysis
Thematic Continuity and Evolution: Both The Housemaid and Parasite address the stark contrasts between social classes, focusing on how individuals from lower socio-economic backgrounds infiltrate the lives of wealthier families. These films highlight the continuity of class struggle as a central theme in Korea n cinema, while also showcasing how this theme has been adapted to reflect the changing socio-economic landscape of South Korea over the decades. By comparing the two films, we can trace the evolution of the portrayal of class conflict, from the intense psychological drama of The Housemaid to the darkly comedic yet tense narrative of Parasite.[20]
Narrative and Stylistic Influence: Since Bong Joon-ho has openly declared The Housemaid as an influence on Parasite, it is essential to explore the ways in which the narrative and stylistic elements of Kim Ki-young’s work have informed Bong’s film. A comparison shows how Bong reinterprets and builds upon Kim’s narrative techniques, such as the use of confined spaces (the house) to create psychological tension and suspense. It also reveals how Bong’s incorporation of modern elements like dark humor, genre-blending (implying the presence of multiple genres like black comedy, social satire, thriller), and sharp social commentary, serves as both a tribute to, and a reinvention of, Kim’s cinematic approach.
Cultural and Historical Context: This study considers the different cultural and historical contexts in which these films were made. The Housemaid, produced during a time when South Korea was undergoing rapid modernization in the late 1950s and 1960s, reflects the anxieties and shifting social norms of that period, particularly concerning gender roles and class mobility. Parasite, on the other hand, was created in a contemporary context where economic inequality and social stratification remain pressing issues, but are now intertwined with global capitalism and the pressures of hyper-competitive society. The two films show a deep influence of the socio-economic concerns of their respective eras on their narratives and thematic concerns.
Psychological and Moral Complexity: Both films delve deeply into the psychological and moral complexities of their characters, particularly in relation to ambition, desire, and survival. The article seeks to uncover how these themes are expressed differently in each film, depending on the socio-economic and cultural backdrop. In The Housemaid, the focus is on the destructive potential of repressed desires and the breakdown of social order within a confined domestic space. Parasite expands on it by exploring the multifaceted nature of deception and survival, as the Kim family navigates their precarious existence within a system that offers little room for upward mobility.
Impact on Korean Cinema and Beyond: Finally, comparing these two films demonstrates their significant impact on Korean cinema and their contributions to global film discourse. The Housemaid is considered a seminal work that laid the ground for subsequent explorations of similar themes in Korean cinema. Parasite builds on its legacy, bringing these themes to a global audience, and earning widespread acclaim for its innovative storytelling and sharp social critique. Comparative analysis underscores how both films, despite being produced in different eras, resonate with universal themes and contribute to the ongoing dialogue about class, power, and inequality in cinema.
The rationale behind a comparative analysis of the two films lies in their shared thematic concerns, the influence of Kim Ki-young on Bong Joon-ho, and their respective reflections of the socio-economic conditions of their times. An examination of these films offers valuable insights into the continuity and transformation of key themes in Korean cinema, as well as the enduring relevance of these issues in a global context.
Parasite and the Impact of Korean Cinema on Theory
In the twenty-first century, Korean cinema has emerged as a powerhouse in global film culture, known for its bold narratives and innovative approaches that challenge traditional storytelling axioms. Parasite is a prime example of how Korean cinema utilizes film theory to engage audiences on multiple levels. From a structuralism perspective, the film meticulously constructs its narrative around the themes of social class and inequality. Bong Joon-ho employs a dual framework by contrasting the cramped, semi-basement dwelling of the impoverished Kim family with the spacious, modern architecture of the residence of the affluent Park family. The visual juxtaposition not only underscores the stark divide between rich and poor but also symbolizes the physical and psychological barriers that separate different social strata.
Through the lens of Marxist theory, Parasite critiques capitalist society and the exploitation of labor.[21] The Kim family’s infiltration into the Park household can be seen as a metaphorical representation of class struggle, where the Kims use deception and manipulation to gain economic advantage over their affluent employers. This dynamic highlights an unequal distribution of wealth and power within society, resonating with global audiences grappling with issues of income inequality and social mobility. From a postmodern perspective, Parasite challenges traditional genre boundaries by seamlessly blending elements of comedy, thriller, and drama. Bong Joon-ho’s narrative fluidity and ability to subvert audience expectations contribute to the film’s iconoclastic status. The film’s unpredictability and narrative complexity invite viewers to reconsider their assumptions about social hierarchy and human behavior, prompting deeper reflection on societal norms and values.
The success of Parasite at the Oscars, where it made history as the first non-English language film to win Best Picture, reflects its deep impact on global cinema. The film’s recognition for Best Director, Best Original Screenplay, and Best International Feature Film underscores its cinematic craftsmanship and universal appeal. Bong Joon-ho’s meticulous direction, coupled with the film’s thematic depth and innovative storytelling, elevates Parasite to the stature of a seminal work in contemporary cinema that continues to provoke critical discourse and inspire film makers worldwide, standing testament to the transformative power of cinema and the enduring influence of Korean filmmakers on the global stage.
Symbolism of Social Inequality
Parasite is filled with symbolism that intricately weaves narratives of class divide and social inequality. Each symbol, meticulously chosen, deepens the viewer’s understanding of the disparities between the affluent Park family and the impoverished Kim family. The film uses these symbols to reflect on modern society’s issues, emphasizing the stark contrast in living conditions, aspirations, and daily struggles of different social classes.
The Scholar’s Stone
Image 3. The Scholar’s Stone gifted to the Kim family by Ki-woo’s friend (represents scholarly class and is associated with the affluence).[22]
The Scholar’s Stone, gifted to the Kim family by a friend, symbolizes wealth and aspiration. It is introduced early in the film when Ki-woo’s friend, Min, brings it as a present, saying it will bring the family material wealth. This stone represents the Kim family’s hopes for upward mobility and a better future. However, the stone’s weight metaphorically signifies the burden of these aspirations. As the narrative unfolds, the stone is revealed to be hollow, symbolizing the futility and eventual destructiveness of the Kims’ pursuit of wealth. It ultimately becomes a weapon, a blunt object used in the climactic violence, underscoring the hollow promise of wealth and the destructive consequences of their social climbing.
The Bunker
Image 4. The Bunker Scene where the housekeeper Moon Gwang’s husband is revealed to be living in the bunker while hiding from the loan sharks.[23]
The hidden bunker beneath the Parks’ luxurious home symbolizes the hidden underbelly of society’s elite class. It is a literal and figurative representation of the dark secrets and the lengths to which people go to maintain their social status. The bunker is where Geun-sae, the former housekeeper’s husband hides for years, unknown to the Parks. The subterranean existence highlights the theme of invisibility and the unseen struggles of the lower class. The revelation of the bunker signifies the collision of the two worlds—the surface-level opulence of the Parks and the underground, hidden poverty of the Kims and Geun-sae. This space becomes a battleground in the film’s climax, illustrating the violent clash between different social strata.
Stairs and Levels
Image 5. The staircase in several scenes represents the social stratification.[24]
Stairs and vertical levels are recurring motifs throughout Parasite, symbolizing the social hierarchy, similar to The Housemaid.[25] The Kim family lives in a semi-basement apartment, reflecting their low social status and their aspiration to rise above ground. In contrast, the Parks reside in a modern, multi-level house on a hill, epitomizing their elevated social standing. The act of ascending and descending stairs in the film often accompanies significant plot developments and shifts in power dynamics. For instance, when the Kims infiltrate the Park household, they ascend the stairs, signifying their temporary rise in status. Conversely, when they retreat to their flooded basement home, they descend, marking their fall back into poverty. The staircase thus becomes a visual metaphor for the characters’ social mobility and the precariousness of their position.
The Flood
Image 6. The flood scene in Parasite where rain, as a symbol, represents both wealthy and poor. Rain is a blessing to the wealthy and a curse to the poor
as it brings disasters such as flooding.[26]
The flood scene is a powerful symbol of the uncontrollable forces that keep the lower class suppressed. One rainy day, when the Parks are away on a camping trip, the poor Kims enjoy a secret party in their luxurious home, and when the Kims return to their basement home they find it devastated by a flood caused by heavy rain. The natural disaster not only destroys their physical possessions but also symbolizes the inescapable and unpredictable nature of poverty. The floodwaters wash away their hopes and underline the fragility of their social position. It starkly contrasts with the Parks, who perceive the rain as a minor inconvenience and a source of beauty for their garden party, highlighting the disparate impact of the same event on different classes.
Native American Motif
Image 7. Fascination towards American products is used as a motif to symbolize wealth, aspiration, and social status.[27]
Da-song’s fascination with Native American culture and the associated imagery in the Park household symbolizes the eroticization and trivialization of other cultures by the wealthy. This motif is evident during the garden party scene, where the Park family stages a mock-Native American-themed event, complete with costumes and props. This appropriation of cultural symbols for entertainment reflects the Parks’ superficial understanding and detachment from the realities of the world outside their privileged bubble. It underscores the theme of ignorance and the lack of genuine cultural appreciation or understanding among the elite.
The Dogs
Image 8. The dogs in the movie are used as a motif to represent underlying social tensions, class conflicts, and power dynamics.[28]
The Park family’s dogs symbolize loyalty and the division of attention between the classes. The dogs are well-fed and pampered, indicative of the Park family’s wealth and their ability to care for pets luxuriously. They contrast starkly with the Kim family’s living conditions, where even basic necessities are hard to come by. The dogs’ presence during the climactic scenes, especially their indifferent behavior towards the violence occurring around them, highlights the insensitivity and obliviousness of the wealthy towards the struggles of the poor. Their loyalty is unquestioned, much like the societal expectations placed upon the working class to serve without dissent.
Lighting Effect
Image 9. Lighting in the movie is used to create a sense of atmosphere and the tension: the dark and the light spectrum of lights are used to signify class divide.[29]
Lighting is a crucial element used to distinguish between the lives of the two families. The Parks’ home is filled with natural light, symbolizing transparency, luxury, and safety. In contrast, the Kim family’s semi-basement is dimly lit, symbolizing their obscure and precarious existence. The most striking use of lighting is during the flood scene, where the stark contrast between the bright, dry interior of the Park home and the dark, waterlogged Kim apartment is emphasized. This not only visually separates the two worlds but also reinforces the thematic contrast between wealth and poverty. The lighting during key moments, such as the revelation of the bunker and the climactic party scene, uses shadows and darkness to enhance the tension and underscore the hidden aspects of the characters’ lives.
The Ending
Image 10. The ending scene where the Park family patriarch covers his nose, symbolizes the dehumanization of the lower class in the eyes of the wealthy.[30]
In the film’s poignant ending, Ki-woo envisions buying the Park house to free his father, who is now hiding in the bunker. This dream sequence, accompanied by hopeful music, abruptly cuts to the grim reality of Ki-woo still living in the same semi-basement, signifying the unlikelihood of escaping poverty. This final twist highlights the persistent and cyclical nature of class struggle, leaving the audience with a sobering reflection on the barriers to social mobility. The stark contrast between the dream and reality reinforces the theme that for the lower class, true ascent is almost impossible within the rigid structures of modern society.
Parasite uses rich symbolism to explore and critique the existing issues of class divide and social inequality. Each symbol—the Scholar’s Stone, the bunker, stairs, the flood, and the Native American motif, etc.—serves to deepen the narrative, providing a multilayered examination of the struggles and aspirations of different social classes in contemporary Korean society. Through these symbols, Bong Joon-ho masterfully portrays the precariousness of social mobility and the enduring impact of structural inequalities.
Dialogue Analysis in Parasite
Parasite masterfully conveys through its dialogue the social disparities that drive the narrative.
Image 11. The opening scene shows the Kim family’s youth trying to catch a Wi-Fi signal from nearby café, highlighting their economic struggle and their resourcefulness in trying to connect to the outside world.[31]
Opening Scene, Semi-basement Struggles: The film begins in the Kim family’s semi-basement apartment, a physical representation of their low social status. The dialogue immediately establishes their dire situation. In this scene Ki-woo’s desperate search for a Wi-Fi signal and Chung-Sook’s sarcastic remark, “What am I supposed to do if someone calls me? What if it’s a job?” underscores their financial instability and reliance on small, unpredictable opportunities. The basement dwelling, with its narrow windows barely peeking above street level, symbolizes the Kims’ marginalized existence.
Introduction to the Park Family: The contrast is stark when Ki-woo visits the Park mansion for an interview. It is a world away from the Kims’ cramped quarters. Yeon-kyo, the naïve and wealthy matriarch, exemplifies upper class obliviousness to the struggles of the lower class. When she says, “I don’t care about papers. I only wanted to see you because you were recommended by Min-hyuk (Kim Ki-woo’s friend). I guess you two are good friends,” it highlights how personal connections and privilege overshadow merit and qualifications in their world. This casual dismissal of academic credentials starkly contrasts with Ki-woo’s reality, where every opportunity must be seized and often fabricated.
The Pizza Box Folding Scene: It further underscores the Kim family’s precarious situation, depicting them working together in their semi-basement, struggling to make a meager income. When a fumigation truck passes by, Ki-tek decides to leave the window open for “free fumigation,” showing their willingness to endure discomfort and health risks to save money. The toxic gas filling their home, as they continue folding boxes, poignantly represents the noxious environment of their lives, where survival often means making painful compromises.
The “Plan” Conversation: One of the most significant dialogues reflecting the class divide occurs after the Kim family’s home is flooded. Ki-jung asks her father, “What do we do now? What’s the goddamn plan?” This moment encapsulates their constant state of crisis management and the illusion of control they try to maintain. In contrast, the Parks remain blissfully unaffected by the storm, planning a carefree birthday party for their son. The juxtaposition highlights the vast disparity in how the two families experience and react to the same external events.
The Birthday Party and Climactic Confrontation: The birthday party scene is a culmination of the film’s exploration of social inequality. The Kim family is forced to participate in the celebration as part of their subservient roles, while the Parks enjoy the event’s luxury and frivolity. The tension between Ki-tek and Mr. Park comes to a head when Mr. Park makes a disparaging comment about Ki-tek’s smell, a recurrent motif representing the lingering, inescapable mark of poverty. This triggers Ki-tek’s violent outburst, leading to the shocking climax where he kills Mr. Park. The smell, a metaphor for the class divide, becomes the breaking point for Ki-tek, who can no longer endure the de-humanization and disrespect.
Ending, the Illusion of Escape: In the film’s final scenes, Ki-woo dreams of earning enough money to buy the Park mansion and reunite with his father, who is now hiding in the basement. His plan, narrated in a letter to his father, is a tragic fantasy. The closing shot, returning to Ki-woo in the same semi-basement, underscores the cyclical nature of poverty. Despite his aspirations, the barriers imposed by class and social inequality remain insurmountable. The dream of upward mobility is revealed to be an illusion, perpetuating the harsh reality of the class divide.
The dialogue serves to deepen the audience’s understanding of the characters’ struggles and the systemic barriers they face. Through the interactions between the Kim and Park families, Bong Joon-ho illustrates the invisible yet palpable barriers that separate the lives of the wealthy and the poor, making the film a powerful social commentary on the human cost of economic disparity.
Impact of Parasite on Korean Society
After its release, Parasite sparked a widespread discussion in Korea about class division and the difficulties faced by the working class. Many Koreans identified with the struggles of the Kim family, as the movie reflects real-life issues such as the high cost of living, job insecurity, and the difficulty of social mobility. The film brought to the surface the growing resentment towards the wealthy elite, who are often perceived as being out of touch with the realities of everyday life for most Koreans.
The film also challenged the traditional narrative that hard work and perseverance would lead to success, a belief deeply rooted in Korean society. Instead, the movie suggests that for many, the system is rigged, and no matter how hard they try, they will remain trapped in their social class.
Exploring Social Inequality in Contemporary Korea through Parasite
“부자일수록더친절해. 비만안오면”[32]
[“The richer they are, the nicer they are, unless it rains”].
The film’s narrative unfolds through the Kims’ infiltration into the Parks’ lives under false pretenses, highlighting the lengths to which the economically disadvantaged may go to improve their circumstances.[33] This storyline encapsulates the competitive nature of Korean society, where socioeconomic status can heavily influence one’s opportunities and quality of life. The Kims’ deception and eventual exposure underscores the challenges faced by those seeking upward mobility in a rigidly stratified society. Furthermore, Parasite addresses themes beyond economic disparity, such as the exploitation of labor seen in the relationship between the Kims and the Parks which is characterized by dependency and manipulation, echoing broader power dynamics in Korean society, where the wealthy often wield significant influence over the less privileged.
While the film provides a stark critique of class division in contemporary Korea, it also resonates globally as a commentary on universal themes of inequality and exploitation. Bong Joon-ho’s direction and layered storytelling not only entertain but also provoke thought about societal structures and human behavior. The film’s success, both critically and commercially, indicates its relevance and resonance in addressing pertinent social issues, making it a compelling cultural commentary on the complexities of modern Korean society and beyond.
Korean Society Post-release of Parasite
Before Parasite, Korean cinema had already touched on social inequality, but Parasite was unique in how directly it addressed the issue. The movie does not just show the divide between rich and poor; it emphasizes how deeply ingrained and nearly impossible to overcome this divide has become. This is in contrast to earlier films that often portrayed the possibility of upward mobility through hard work and perseverance. In real life, Korean society has been grappling with increasing inequality for years. The country has seen rapid economic growth, but this has also led to a widening gap between the rich and the poor. The pressures of living in such a competitive society, where education, housing, and jobs are all highly sought after, have left many feeling disillusioned and frustrated, much like the characters in Parasite.
Moreover, Parasite has been compared to the Korean concept of “Hell Joseon,”[34] (헬조선, hell joseon) a slang term used by younger generations to describe the harsh realities of life in South Korea. This term reflects the sense of hopelessness and frustration among those who feel stuck in a society that favors the wealthy and powerful. Parasite resonates deeply with these sentiments, bringing them to the forefront of public discourse.
The Contribution of Parasite to Research
“우리가남의집에 ‘반말’을하면좋은 ‘예’ 떠올리고."[35]
[“If we use informal language in someone else’s house, we think about good manners”].
In conclusion, Parasite contributes significantly to the research field by addressing gaps in understanding the lived experiences and societal implications of class stratification. By seeing the film against theoretical frameworks such as structuralism, Marxist theory, and postmodernism, the film offers a multi-dimensional critique of capitalist structures and societal norms, inviting viewers to reconsider their perceptions of wealth, power, and privilege. Furthermore, Parasite enriches academic discourse by offering a nuanced depiction of economic precarity, labor exploitation, and social mobility within late-stage capitalism.[36] Through its visual metaphors and spatial dynamics, the film provides fertile ground for discussions on urban segregation and class consciousness, aligning with scholarly debates on neoliberalism and economic disparity. Its engagement with genre hybridity—blending dark comedy, thriller, and social realism—also challenges traditional cinematic narratives, making it valuable for film studies and cultural theory.[37]
Academically, the film serves as a case study for exploring the psychological, economic, and cultural dimensions of inequality, both within South Korea and in a broader global context. Its narrative sophistication and critical acclaim have sparked scholarly discourse on the representation of class in cinema, the ethics of social climbing, and the enduring impact of economic disparity on individual agency and social cohesion.
Parasite not only captivates audiences with its thrilling narrative and masterful direction but also prompts a deeper reflection on the socio-economic forces shaping contemporary society. As a cinematic achievement, it resonates as a powerful tool for understanding the complexities of class struggle and societal divisions, contributing to ongoing discussions on inequality and social justice in both academic and popular discourse.
The author, Aman Tripathi, is a post-graduate student of Korean Studies at Jawaharlal Nehru University, New Delhi. He is currently in the second year of a master’s program with a major in Korean language, literature and cultural studies and a current Korea Foundation Scholarship Fellow. His academic journey reflects a deep interest in language and culture, extending beyond his native tongue to encompass global perspectives. He has gained insights into the evolutionary dynamics of language and society, seeing art as a catalyst for change. Inspired by Bertolt Brecht’s idea that the aim of art is “Agit-Prop,” he is on a journey to explore different mediums of artistic expression, be it poetry, painting, or cinema. As someone interested in both foreign language, its culture and cinema, he aims to delve deeper into understanding how different societies reflect their culture and their imbibed values and how effectively movies capture that essence.
The co-author, Areeza Saifi, is a master’s student at Sungshin Women’s University, Korea, pursuing Korean language education. She has honed her skills in drama and movie analysis and has a keen eye for understanding the deep symbolism used in moving pictures. With a strong command of the Korean language, she greatly assisted the author in analyzing Korean dialogues and scripts throughout the process of writing this paper for the Rising Asia Journal.
[1] Shaukat Ali, et al., “An Existential Analysis of Bong Joon-ho’s Movie Parasite," PalArch’s Journal of Archaeology of Egypt/Egyptology 19, no. 4 (2022): 132-146.
[2] Bill Desowitz, “‘Parasite’: Shooting Bong Joon Ho’s Social Thriller through the Lens of Class Divide,” IndieWire, November 15, 2019,https://www.indiewire.com/awards/industry/parasite-cinematographer-hong-kyung-pyo-1202189824/
[3] Deloitte, the Deloitte Global 2021 Millennial and Gen Z Survey, https://www2.deloitte.com/content/dam/Deloitte/kr/Documents/consumer-business/2021/kr_consumer_article_20210706.pdf
[4] Seungwoo Han, “Identifying the Roots of Inequality of Opportunity in South Korea by Application of Algorithmic Approaches,” Humanities and Social Sciences Communications 9, no. 18 (2022), https://doi.org/10.1057/s41599-021-01026-y
[5] Ibid.
[6] Hyejin Kim, “‘Spoon Theory’ and the Fall of a Populist Princess in Seoul,” Journal of Asian Studies 76, no. 4 (2017): 839–849.
[7] Han, “Identifying the Roots of Inequality of Opportunity in South Korea by Application of Algorithmic Approaches.”
[8] Ibid.
[9] Ibid.
[10] Ibid.
[11] Ibid.
[12] Ibid.
[13] Oscars, “‘Parasite’ Wins Best Picture,” YouTube, March 11, 2020, https://youtu.be/Wg_Ql89fWy4?si=c92KpJ91-Gz9GINR
[14] Vincenzo Lomuscio, “Parasite: A Predicative or a Substantial Concept?” in Parasite: A Philosophical Exploration (Leiden, Netherlands: Brill, 2022), 129-143.
[15] Hye Seung Chung, “Monster and Empire: Bong Joon-ho’s The Host (2006) and the Question of Anti-Americanism,” Oakland Journal 20 (Winter 2011): 2011.
[16] Nagehan Uzuner, “Bong Joon Ho, Okja (2017): Wounding the Feelings,” Markets, Globalization & Development Review 5, no. 2 (2021).
[17] Lambok Hermanto Sihombing, and Agustinus Alexander Sinaga, “Representation of Social Class in Parasite Movie,” Lire Journal (Journal of Linguistics and Literature) 5, no. 1 (2021): 69-80.
[18] Criterioncollection, “Bong Joon-Ho on the Housemaid,” YouTube, December 18, 2013, https://youtu.be/Rh5QzhNNi3k
[19] As avant-garde is more unusual than normal films, it takes a different type of camera work and directing. First, the camera might use methods like distorting lenses, shooting at frequently changing speeds, and using flash film. Secondly, the film stock can use clear, paint, and scratch frames to tone and tint the developing. Third, while editing the director may not use interconnected scenes of action, or use hyper-edit to establish aesthetic rather than narrative principles. Lastly, the use of sounds, as abstract and counterpoint to image, and the use unusual combinations of instruments. The goal of these different techniques is to question, challenge, and critique dominant ideologies. Altogether these techniques help determine the avant-garde filming style. https://filmstudies2270.wordpress.com/avant-garde-and-experimental-cinema/#:~:text=Avant%2DGarde%20Filming%20Techniques,speeds%2C%20and%20use%20flash%20film
[20] Christina Klein, “Bong Joon-ho’s Parasite as a Remake of Kim Ki-young’s The Housemaid: Creating an Aesthetic Genealogy Within South Korean Cinema,” in The Routledge Companion to Asian Cinema (Routledge, 2024), 291-300.
[21] Shatabdi Mishra, “A Marxist Analysis of Class Consciousness in Bong Joon-ho’s Parasite,” Global Media Journal 20, no. 51 (2022): 1-4.
[22] Parasite (2019) stills and screengrabs by Kyung-Pyo hong, Shot.cafe, 2024, https://shot.cafe/movie/parasite-2019-262/?page=2#parasite-2019-262/parasite-2019-262-16993
[23] Parasite (2019) stills and screengrabs by Kyung-Pyo hong, Shot.cafe, https://shot.cafe/images/t/parasite-2019-262-17195.jpg
[24] Parasite (2019) stills and screengrabs by Kyung-Pyo hong, Shot.cafe, https://shot.cafe/images/t/parasite-2019-262-17330.jpg
[25] Frez Colonia, et al., “Parasite Deception: A Discourse Analysis on Class Inequality Depicted in Bong Joon Ho’s Movie,” International Journal of Literature Studies 2, no. 2 (2022): 58-67.
[26] Parasite (2019) stills and screengrabs by Kyung-Pyo hong, 2024, Shot.cafe, 2024, https://shot.cafe/images/t/parasite-2019-262-17284.jpg
[27] Parasite (2019), stills and screengrabs by Kyung-Pyo hong, Shot.cafe, 2024, https://shot.cafe/images/t/parasite-2019-262-17308.jpg
[28] Parasite (2019), stills and screengrabs by Kyung-Pyo hong, Shot.cafe, 2024, https://shot.cafe/images/t/parasite-2019-262-17316.jpg
[29] Parasite (2019), stills and screengrabs by Kyung-Pyo hong, Shot.cafe, 2024, https://shot.cafe/images/t/parasite-2019-262-17164.jpg
[30] Parasite (2019), stills and screengrabs by Kyung-Pyo hong, 2024. Shot.cafe, 2024, https://shot.cafe/images/t/parasite-2019-262-17370.jpg
[31] Parasite (2019), stills and screengrabs, shot.cafe, n.d. Shot.cafe,https://shot.cafe/movie/parasite-2019-262#parasite-2019-262/parasite-2019-262-16977
[32] This line (a dialogue from the film) highlights the superficial kindness of the wealthy, which is conditional and influenced by circumstances, underscoring the theme of social inequality in the movie.
[33] Aribam Bishwajit Sharma, and Juhi P. Pathak, “Representation of Social Issues in Parasite: A Critical Discourse Analysis,” Journal of Positive School Psychology 6, no. 8 (2022): 9291-9301.
[34] Sumyeong Bak박수명. 2013. 청년계층의사회적배제에관하여 [On social exclusion of youth,한국정책연구], The Journal of Korean Policy Studies 13, no. 3: 113-131, https://www.dbpia.co.kr/journal/publicationDetail?publicationId=PLCT00002119
[35] This line, roughly translated as, “If we use informal language in someone else’s house, we think about good manners,” illustrates the complexities of social hierarchy and class distinctions portrayed in the film. It emphasizes the constant awareness and adaptation required by the Kim family as they navigate the affluent world of the Park family. The use of formal and informal language in Korean culture is deeply tied to respect and social status, making this line a subtle yet powerful reflection of the film’s exploration of social stratification and the lengths people go to for social mobility.
[36] Nam Lee, The Films of Bong Joon Ho (Ithaca, NY: Rutgers University Press, 2020), https://doi.org/10.36019/9781978818941
[37] Alireza Farahbakhsh and Ramtin Ebrahimi, “The Social Implications of Metaphor in Bong Joon-ho’s Parasite,” CINEJ Cinema Journal 9, no. 1 (2021): 87-116. https://doi.org/10.5195/cinej.2021.291
