PARASITE as Parable

Abstract

W inning both the Palme d'Or at Cannes Film Festival 2019 and Best Picture-along with Best Directing, Script, and International Feature Film-at the 2020 Oscars, Parasite achieved unprecedented international success for a South Korean film. It is even more striking to find that a film shot entirely in the Korean language with South Korean production received the highest honor at the Oscars, a generally domestic film festival in the United States. Admittedly, the filmmaker, Bong Joonho, 1 was not only already a top-tier director in South Korea, but also a reputable auteur of cinema who had gained international fame since the early 2000s and made major films in the United States, including Snowpiercer (2013) and Okja (2017). The mastery of Bong's filmmaking is evident: storytelling that can grab the audience "by the collar and shake them up," 2 a detail-oriented cinematography, and impeccable editing that deserves textbook status at film schools. That said, the triumph of Parasite goes beyond Bong's previous successes in the field of international film festivals and art houses, and beyond his existing accomplishments as a filmmaker. Parasite speaks to the broader public because its narrative is centered on the practice of today's ubiquitous religion, global capitalism. The relationship between religion and capitalism, or capitalism as a religion, is a classic subject of religious studies, since Max Weber's The Protestant Ethics and the Spirit of Capitalism. Among many other works on religion and capitalism, I draw particularly on Walter Benjamin's 1921 fragment, "Capitalism as Religion." Benjamin's fragment was published in 1985, long after his death, and it is an incomplete piece of writing that Religion of Mammon and Parasite Although Bong has a Catholic background-his baptismal name is "Michael"-he hardly uses religious elements in his films except for a small number of depictions of Korean Protestant evangelicals. 8 Parasite is

Derrigorrezko Bigarren Hezkuntza etapako irakasleen pertzepzioa STEM hezkuntza-ereduarekiko

“…Bong Joon-ho-ren Parasite pelikularen kasuan, erdarazko makina bat ikerketa ezberdin egin dira, gaur egungo Hego Korear klase baxuko familien egoera erakustea eta nola talde hauentzako ezinezkoa den klase sozialen eskalan gora egitea izanez filmaren gai nagusia (Octavia, 2021). Beraz, kapitalismoa erlijio berria bihurtu den gaur egungo gizartean (Benjamin, 1921) (Noh, 2020), Parasitek Amerikako Estatu Batuek azken hamarkadetan zehar saldutako "Amets amerikarra"-ren faltsukeria eta honen ezinezkotasuna erakusten du (Ridwey-Diaz, Truong eta Gabbard, 2020).…”

“…Parasite bi zatitan banatutako pelikula bat da, (Noh, 2020) (Octavia, 2021) filmaren erdi puntuarekin, hau da, Parktarren etxe azpian bizi den hirugarren familiaren agerpenarekin, guztiz aldatzen dena (Serrano, 2019). Filmaren lehenengo zatian zehar klase baxukoak diren Kim familiaren bizitza eta gaur egungo hegokorear gizarte kapitalista irudikatzen diren bitartean, bigarren zatian aldiz, hirugarren familiaren agerpenarekin, filmaren tonua eta Kimtarren jarrera ere aldatu egiten da.…”

“…Filmaren lehenengo zatian zehar klase baxukoak diren Kim familiaren bizitza eta gaur egungo hegokorear gizarte kapitalista irudikatzen diren bitartean, bigarren zatian aldiz, hirugarren familiaren agerpenarekin, filmaren tonua eta Kimtarren jarrera ere aldatu egiten da. Zati honetan Kim familiak haiek lortutako lanekiko jarrera kapitalista eta indibidualista bat erakusten dute azpiko familiarekiko (Noh, 2020) (Octavia, 2021).…”