Parasite 3 scenes Flashcards
(24 cards)
Cinematography opening banjiha- poverty, South Korea
eyeline match, positioned as Kims looking from their banjiha- will see movie through their perspective- could suggest how audience is part of social structure
pull focus- foreground to background- first socks in focus then switches to street- Bong auteur trait
MES opening banjiha- poverty, South Korea
props- socks to immediately introduce smell as a motif
-lighting- dark and dim- not much light can get into the
colour palette- browns, beige etc look more dirty
- production design- banjiha-narrow window and can barely see through it because it’s dirty and divided into 4 with brick formations- cramped and locked in- no escape, no social mobility
street, dirty, trash
Sound opening banjiha- poverty, South Korea
score- non- diegetic, parallel- designed with auralmotif of ascending and descending-mimic geography in south korea
context opening banjiha-poverty, south Korea
Hell Joseon- no social mobility
Lower class families are very low- shown literally as they live under the street
Banjiha’s are a direct comment on inequality in South Korea
people died in Banjiha’s during storms in 2022
Kim’s are dirt spoons
Neo-liberalism- aren’t getting any help in their situation- no state intervention
Cinematography opening scene- family structure and gender dynamics
two shot- Ki-jung and Ki-woo both crouched next to toilet together with phone’s in hands
lateral tracking and panning as ki- woo moves through house and reveals rest of family- shows the closeness
camera pans from kids crouching to the mum to ask about emails
close up of mrs kims’ achievements
performance, proxemics, production design opening scene- family and gender dynamics
Performance-Mrs Kim kicks Mr Kim to get his attention- women have power and respect
proxemics- both at same level- shows one isn’t above the other (ki-woo and ki-jung a toilet)
Production design- Mrs Kim’s achievements on wall- close up to them- celebration of women in household- prized athlete- physically strong and traditionally masculine
context opening scene- family and gender dynamics
Further you go up social class, more invested in norms- hegemonic values
Further down you go-less restrictions
female characters have narrative agency
Close family structure for lower class- rely on each other as they can’t rely on anyone else
Gender roles subverted- Mrs Kim may not have luxury or privilege to indulge in traditional gender roles
Cinematography packing for camping- class struggle
Low angle- used literally to show that they are at the bottom of the house(that they know of)- but also could represent that the audience is also part of the social structure
Wide shot- to emphasize the space between them
MES: body language, performance, proxemics, costume design packing for camping- class struggle
body language- Mrs Park leans over Mrs Kim and tells her what things to get from the basement- represents how Mrs Kim is beneath her in the social hierarchy
-performance- Mrs Kim and Park are stood far away from each other that Mrs Park has to raise her voice to tell Mrs Kim what things to get- physical separation
- proxemics- Mrs Park is stood on the stairs above Mrs Kim- literal height difference between them as Mrs Kim is stood in the basement- can represent how Mrs Kim is lower than Mrs Park in the social structure
costume design- Mrs Park is wearing very dark colours, to contrast with the Kim’s. This shows the separation between them that is ever apparent throughout the film- this can represent the class divide
Context packing for camping- class struggle
upper and lower class only exist in the same space together when one is being exploited
For example, the Kims only share the same space as the Parks because they are working for them. Even though they are in the same space there is a clear distinction between them
Cinematography packing for camping- gender structures
Pull focus from Mrs Kim to Mr Kim
Shallow focus- focus on Mr Park and
Mrs Park is out of focus
Close shot of Mr Park- he is the main focus of the scene
Wide shot- can see Mrs Park taking on happy role and Mr Park in the back taking on more masculine, serious ‘getting things done’ role
MES: physicality, proxemics, facial, costume packing for camping- gender structure
Physicality- Mr Park is sat in a very relaxed position, leaning his hands on the table but Mrs Park is standing up and packing things
Proxemics- Mr Park at the front of the shot and Mrs Park is behind- represents he is of more importance socially- Bong symbolic staging
Costume design- Mr Park sleeve rolled up while carrying bag- can see his arm and emphasizes strength
Mrs park performance and facial is packing- gender
Performance + facial expressions- Mrs Park very happy and smiley when talking about dogs- presents her as less smart and easily distracted
Context for packing- gender structures
higher up social structure and class, traditional gender norms are enforced more
Capitalism- Mr Park is a business band and thrives from capitalism so this fuels his want for his relationship with his wife to support traditional gender norms- fulfils his fragile masculinity if he feels in control
Cinematography final scene- colonialism and cultural hegemony
Two shot of Mr Kim and Park crouched next to each other when they see that Basement dweller has stabbed Ki- Jung
Close ups of both Mr Kim and Mr Park while they’re wearing the Native American hats- mirroring each other
Low angle- look up at Mr Park from basement dweller’s perspective- shows how basement dweller is below Mr Park
Crane shot- high angle- see basement dweller on floor and back of Park’s head
Performance in final scene: colonialism and cultural hegemony
Basement dweller shouts “respect” at Mr Park
Ki- Jung bringing the cake out for Da- song- participating in their events
costume in final scene: colonialism and cultural hegemony
Native American hats
context final scene: colonialism and cultural hegemony
Native Americans were killed and their people were colonised by the white American settlers
America profits of of this history through cool capitalism
Other countries also participate in this through buying these products
sound final scene: social mobility
Non- diegetic score- ascending and descending- no social mobility- may seem like you are ascending but ultimately you aren’t
cinematography Final scene-social mobility
Low angle- Ki woo walking down stairs and hanging flyers up
Camera pans down to window
Camera pans down to Ki- woo- represents his social status
Before dream sequence- crane shot above ki-woo and camera moves closer and twists in circular motion- unusual, not real
Production design(banjiha) final scene- social mobility
Window split into 4 and has brick design on it- no way to escape
Looking out from Banjiha from Kim’s perspective again
Costume final scene- social mobility
Dream sequence- costume design- ki- woo- combed, neat hair, mirroring Min, smart suit
represents how it is unattainable now and it is only a dream they will never achieve
light, colour palette final scene- social mobility
Banjiha from Kim’s perspective again- night time, no light at all let in anymore,- mirrors beginning of movie- however no hope left- shows how they have ended in a worse position
Colour palette- blues, greys- bleak dark position
context final scene- social mobility
Hell Joseon-rigid social mobility
Gold spoons and dirt spoons
