DECONSTRUCTING THE MYTH OF SOCIAL MOBILITY IN THE FILM PARASITE (2019)

Afifah Widia Anggraini; Baiq Jasnieta Anjani Putri; R. Myrna Nur Sakinah

doi:10.56413/studi ilmiah sastra.v15i2.557

Afifah Widia Anggraini Universitas Islam Negeri Sunan Gunung Djati Bandung
Baiq Jasnieta Anjani Putri Universitas Islam Negeri Sunan Gunung Djati Bandung
R. Myrna Nur Sakinah Universitas Islam Negeri Sunan Gunung Djati Bandung

DOI: https://doi.org/10.56413/studi%20ilmiah%20sastra.v15i2.557

Keywords: Roland Barthes Semiotics, Myth, Class Disparity, Parasite Movie, Denotation Connotation.

Abstract

Bong Joon-ho's Parasite (2019) is not merely a story about economic disparity, but a critique of the illusion of success within modern capitalism. While previous research has largely highlighted types of signs (icons/indexes/symbols), this study aims to uncover the hidden meanings behind these signs using Roland Barthes' semiotic framework: Denotation, Connotation, and Myth. Through a qualitative descriptive approach, this study analysis key narrative objects such as the Scholar's Stone (Suiseki), "The Line," and "The Plan." The analysis reveals that the Scholar's Stone is not merely a symbol of hope, but a false "Myth" of meritocracy. Mr. Park's "Line" represents the connotation of invisible class segregation, while the failure of Ki-taek's "Plan" deconstructs the myth that poverty can be overcome simply through hard work. This study concludes that Parasite operates by dismantling the cultural myths that have long lulled the working class into complacency.

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