Abstract
Symbolizations are expressive and they guide conducts. From this affirmation, we seek to analyze the feature film Parasite, a South Korean production of 2019 and winner of different international awards, based on the theme of social borders, analyzed through its relationship with two fundamental sociological categories: classification and social mobility. We seek to understand the apparent inflexibility of social barriers and the way in which the stigmatization by the distinction between bodily smells attributed from the cut of socioeconomic belonging is activated as a resource complementing the debate on social boundaries. We take as reference the conception that symbolizations have their meanings constituted in the form-content totality. In this way, we conclude the debate with the resumption of the theme of social boundaries in compliance with the strategy of its director and screenwriter, Bong Joon-ho of having his work not easily classifiable in terms of a specific genre.
Keywords:
Social boundaries; Social classification; Social mobility; Odors; Parasite