Baroque Music as a Quotation in a South Korean Film: Semantic and Conceptual Aspects

Authors

DOI:

https://doi.org/10.32461/2226-3209.4.2025.351979

Keywords:

music in film, Baroque music, quote, South Korean cinema, film ‘Parasite’

Abstract

The purpose of the article is to examine the use of Baroque music in the film Parasite by South Korean director Bong Joon-ho, to determine the role of musical quotations in the dramaturgy and semantic content of the film, and to convey the director’s vision. Research methodology is based on an analysis of the film’s audiovisual series. A contextual approach is also used to outline the possible connotations of the quoted material. The conceptual basis of the study is based on terms and concepts developed in the works of Ukrainian and foreign researchers of film music. Scientific novelty. The musical component of the film ‘Parasite’ is analysed, and the role of quotations in the film’s dramaturgy is determined. To outline the sociocultural context of the film, the works of foreign researchers, including South Korean researchers, are used. Conclusions. Rodelinda’s aria ‘Mio Caro Bene’ from G.F. Handel’s opera in South Korean director Bong Joon-ho’s film is the only Baroque music quotation in the film’s soundtrack. The director places the aria’s music in the pre-climax zone, creating a contrast to the bloody drama unfolding on screen. Performed in the frame as diegetic, Western European Baroque music, as an attribute of the leisure time of South Korean upper class, acquires symbolic meaning along with other symbolic objects in the film (food, weather, spatial organisation, smell), whose task is to show the striking, historically conditioned isolation of the social strata of Korean society and the impossibility of overcoming this gap. The key role of Baroque music in the ‘Parasite’ film music is confirmed by the introduction of pseudo-Baroque music (allusions to the first part of Vivaldi’s ‘Winter’ from ‘The Four Seasons’) into the original soundtrack, created by composer Jung Jaeil: the music imitates the work of a Baroque composer, as the poor family members pretend to be someone they are not in order to get closer to their hosts.

References

But, O.V. (2007). Sound as a component of the film’s figurative structure. Candidate’s thesis. Kyiv [in Ukrainian].

Kuzmenko, A. M. (2021). Music in Ukrainian live action films of the last third of the XX – early XXI centuries: specifics of functioning in the artistic structure of the film. Candidate’s thesis. Kyiv [in Ukrainian].

Leontiev, S. A. (2019). Compositional Technologies in the Musical of American Films. Candidate’s thesis. Kyiv [in Ukrainian].

Ostrovskyi, O. V. (2025) Reception of the cinematic legacy of Luchino Visconti through the lens of multimodal discourse analysis. Candidate’s thesis. Kyiv [in Ukrainian].

Riazantsev, L. V. (2017) Research on the function of quotations in film music. Kyiv National University of Culture and Arts Herald. Series: Art Studies, 36, 39–47 [in Ukrainian].

Stanislavska, K. (2018) The symbolism of musical quotations in cinema (based on the example of O. Balabanov’s film ‘About Freaks and Humans’). Scientific Herald of the Karpenko-Karyi Kyiv National Institute of Theatre, Cinema and Television, 22, 89–93 [in Ukrainian].

Dea Agetia Noviana, Marudut Bernadtua Simanjuntak (2022). Representation of The Impact of Social Gap that Affects Moral Values in the Film ‘Parasite’. LITERACY, 1(2), 69–82. DOI: https://doi. org/10.56910/literacy.v1i2.216 [in English].

Jiayuan, Fu (2024). Film Analysis: The Metaphors in the Movie Parasite. Advances in Humanities Research, 7, 61–63. DOI: https://doi.org/10.54254/2753-7080/7/2024088 [in English].

Jinjun, Luo (2021). Analysis on the Cultural Transmission of Film and TV Music – Taking the Film ‘Parasite’ as an Example. Advances in Social Science, Education and Humanities Research, 572, 285–290. DOI: https://doi.org/10.2991/assehr.k.210813.051 [in English].

Jung Jaeil on composing for Squid Game & Parasite: ‘You have to compose thoughtlessly’ (2021). Retrieved from: https://headlinerhub.com/jung-jaeil-composer-squid-game-parasite-secrets.html [in English].

Lissa, Z. (1964). Aesthetics of Film Music. Polskie Wydawnictwo Muzyczne [in Polish].

‘Parasite’ Music Director Jung Jaeil on Expressing Art & Life Through Music (2020). Retrieved from: https://www.billboard.com/music/music-news/parasite-music-director-jung-jaeil-interview-9329037/ [in English].

Song Xu Bai (2022). False Redemption – The Narrative Pattern of Korean Art Cinema. HYPOTHESIS AND THEORY. Frontiers in Communication, 7. Article 753933. DOI: https://doi.org/10.3389/fcomm.2022.753933 [in English].

Tira Nur Fitria (December 2021). Representation of Symbols in ‘Parasite’ Movie. ISLLAC Journal of Intensive Studies on Language Literature Art and Culture, 239–250. DOI: https://doi.org/10.17977/um006v5i22021p239-250 [in English].

Published

2026-02-13

Issue

Section

Musical art