Bong Joon Ho's Parasite and post-2008 Revolts: From the Discourses of the Master to the Destituent Power of the Real

Abstract

Bong Joon Ho's Parasite has been globally praised for presenting a new perspective on class conflict and for placing the precarious working class at its center. Prestigious awards such the Palme d'Or at the Cannes Festival or the unprecedented Oscar for the Best Film of the Year (for a film in a language other than English) only corroborate this global consensus. But I think it's the opposite. Parasite is an overworked and convoluted narrative about the impossibility of overcoming, dismantling, or exiting neoliberal capitalism. Literally, the South Korean film is a cinematic version of Fredric Jameson's infamousthat "it is easier to imagine the end of the world than to imagine the end of capitalism." Therefore, the interesting thing to analyze is how we all have enjoyed globally, in almost ecclesiastical communion, our last cinematic surrender to the ideology of late capitalism. And at that, it must be admitted, Bong Joon Ho's film is a work of genius. Parasite is also a pertinent departure point to revisit some of Žižek’s theories on the issue of neoliberalism’s global fantasies and on Lacan’s four discourses.