Lines Left to Cross: Deglobalization and the Domestic Western in Bong Joon-ho’s Parasite

This article situates Bong Joon-ho’s Parasite (2019) within the historical logics of the Washington Consensus. In this broad context, we might think of the film’s much-heralded class critique as not quite so domestically contained as may initially appear in a film staged primarily in the confines of a single household. Instead, it opens onto a global political economic framework, which it explores through a nested structure in which class dynamics are also mobilized to explore cold-war and trade-war logics, both of which are revealed to be radically interconnected with domestic concerns. Parasite reveals then the inherent dissensus in the Washington Consensus, a dissensus that was always latent but eventually became more explicit. We might say more generally that stories of class difference take on a pointedly different tenor during periods of stagnation; the specific anxiety in Parasite then is not just over the moral fact of social inequality but also specifically about the material distribution of wealth in the face of diminishing resources. The fact of brutal competition emerges from a milieu that seems ostensibly defined by plentitude.