<설국열차>, <기생충>에서 경제적 불평등 트라우마와 헤테로토피아의 변화 양상 = Changed Aspect in Economical Inequality Trauma and Heterotopia in <Snowpiercer>, <Parasite>

다국어 초록 (Multilingual Abstract)

Bong Joon-ho's films captured the attention of audiences by narratively reproducing the other side of class conflict of today. Here, the conflict caused by class differences triggers a violent incident and reveals the characters' trauma. This study focuses on the way these two films reproduce the trauma caused by class conflict in modern capitalist society, focusing on the changing aspects of space as a heterotopia. In <Snowpiercer>, the space of the train running on the ice age Earth is a space where class struggle occurs, and within it, humans are isolated according to class. By depicting such scenes, the film shows the characters' trauma repeatedly throughout the film's space. In the reproduction of each compartment of the train, we encounter an eternal heterotopia that condenses the history of humanity. In the case of <Parasite>, the trauma of class conflict is depicted centered on the space of house. Bong Joon-ho satirizes the deepening class differences in modern Korean society through the invisible bunker space in the basement of a rich man's house in Seoul. In it, individuals live in seclusion without any social relationships with others, and this space appears as a heterotopia in which the characters live.
This article focuses on Michel Foucault's Heterotopia and examines how the central spaces in these two films reflect human consciousness resisting the control of capitalist society. Foucault gave meaning to the alternative value of this space, saying that humanity has heterotopias that resist the control imposed by the ruling system in any era. The spaces that reveal the trauma of class conflict in the two films are heterotopias imagined by Bong Joon-ho, spaces that oppose today's deepened class discrimination. Thanks to the film's narrative, these spaces reflect that the current neoliberal era overlooks humanity and urge us to reflect on this. What is important here is the changing patterns of heterotopias that reproduce the trauma of class inequality. Surveillance, control, and violent incidents that occur due to social hierarchy spatially visualize the traumatic lives we have in the neoliberal era, and the overturning of the train shows that heterotopia is changing toward potential possibilities. The underground bunker is a heterotopia where Ki-taek seeks rehabilitation by disconnecting from the world that binds him.