Intercultural Cinema and Sensory Memory in Bong Joon-ho's Parasite: An Analysis Through Laura Marks' The Skin of the Film
Overview
This essay analyzes the South Korean film Parasite through Laura Marks' theoretical framework in The Skin of the Film, examining how intercultural cinema employs sensory memory and image memory to reflect cultural dynamics. The paper argues that Parasite's success derives from its sophisticated use of multiple sensory experiences and visual power dynamics to convey the relationship between low-income and wealthy classes.
What this essay covers
- Introduction establishing cinema as cultural reflection and Marks' intercultural cinema theory
- The Film of the Skin framework explaining sensory and image memory in filmmaking
- Analysis of memory of senses in Parasite and its role in audience engagement
- Analysis of memory of images examining power dynamics between cultural classes
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The Parasite
Introduction
Currently, the world of cinema is evolving at a considerably fast pace. Cinemas are used as a reflection of the issues facing society, such as different cultures. Filmmakers can capitalize on reflecting cultures with cinema as a visual medium. Through cinema, filmmakers can transmit to the audience certain aspects between two or more cultures. In The Skin of the Film, Laura Marks has employed various mechanisms in explaining the dynamics of intercultural cinema. Laura explains how intercultural cinema reflects on the experiences in a world, which is transnational and postcolonial. Gisaengchung/ Parasite is a South Korean black comedy film that closely relates to Laura Marks' work in The Skin of the Film book. The film Gisaengchung through The Film of the Skin, applies the memory of images, the memory of the senses, the memory of touch, and the memory of things.
The Film of the Skin
Through the Skin of Film, Laura Mark provides a critical film discussion relating to experiences in different cultures. As a professional in the film industry, Marks provides insights into utilizing senses and memory of images in the film industry involving majorly hybrid micro-cultures. Cinema is essential because memories can be relayed to the audience in spectacular means, such as using the different types of senses during filmmaking. The Film of the Skin by Laura Marks is resourceful in analyzing and understanding various films, for instance, Parasite, a South Korean film.