Abstract

This paper utilizes the framework of ‘triangular desire’ to analyze the film, Parasite, directed by Joon-ho Bong. The basis of Girard’s idea is that a desire for an object is not the result of direct and autonomous attachment, but rather as a form of mimicry of a subject of desire, also referred to as a mediator. Min-hyeok acts as a mediator when Ki-woo falls in love with Da-hye, the daughter of Mr. Park. What is notable about such mimetic desire is that it is contagious. From Da-hye’s perspective, it was ironically the existence of Ki-jung, whom she mistook as Ki-woo’s girlfriend, that led her to feel so attracted to Ki-woo. For Da-hye, Ki-jung acts as the mediator for her desire for Ki-woo. Ki-taek and Geun-se also form a frame of triangular desire through their mutual mediation around Mr. Park. We witness this when Ki-taek later adopts the ritual that Geun-se practiced in the underground bunker when expressing his respect for Mr. Park. Similarly, Chung-sook and Moon-gwang form another triangle of desire revolving around Yeon-kyo, observable when Choong-sook later adopts the pretentious manners previously embodied by Moon-gwang. In a sense, Geun-se and Moon-gwang respectively indulge the mimetic desires of Ki-taek and Choong-sook. The frame of triangular desire becomes even more visible when we group individual characters into families. It can be observed that the mediation of Moon-gwang and Geun-se leads to the Kims perceiving the Parks as a target of desire. Eventually, conflict arising from mimetic competition is escalated to a point where difference is obliterated, and everything falls apart. This paper underlines how well the film Parasite fits into Girard’s concept of desire, as if it were a case study for mimetic desire.