INTERSECTIONS OF GENDER, CLASS, AND CINEMATIC SPACE: FEMALE AGENCY IN PARASITE AND THE GRAND BUDAPEST HOTEL

Abstract [English]

This article develops an intersectional feminist analysis of female agency in Bong Joon-ho’s Parasite (2019) and Wes Anderson’s The Grand Budapest Hotel (2014), examining how gender, class, race, and cinematic space intersect in the social and economic portrayal of women. Drawing on Kimberlé Crenshaw’s concept of intersectionality, Laura Mulvey’s theory of the gendered gaze, bell hooks’s oppositional gaze, Henri Lefebvre’s theory of socially produced space, Doreen Massey’s gendered spatiality, auteur theory, semiotic analysis, disclosure theory, and triadic power analysis, the study argues that both films present women as tactically capable, emotionally intelligent, and structurally indispensable, yet refuse them durable narrative sovereignty.[2][3][1] In Parasite, women’s labor is tied to domestic service, class precarity, and architectural confinement, while dangerous disclosures about hidden infrastructures of wealth expose the violent limits of their agency.[4][5] In The Grand Budapest Hotel, Agatha’s skill, mobility, and care sustain the film’s narrative world, but her significance is filtered through a nostalgic masculine memory structure that turns action into recollection and recollection into male authorship.[6][7] Semiotic mapping of basements, kitchens, stairs, smell, floodwater, pastries, corridors, keys, and Agatha’s birthmark demonstrates that the visual grammar of both films encodes women as central to narrative function yet marginal to narrative ownership.[8][9][6] Triad analysis further reveals that female characters often occupy unstable third positions—broker, buffer, mediator, or expendable term—within unequal relational structures that privilege masculine continuity.[10][11][12] By integrating ethos through theoretical credibility, logos through structured comparative method, and pathos through attention to vulnerability, loss, and social exclusion, this article contends that contemporary cinema may visibly animate female agency while still denying women full narrative authority. The comparison between Bong’s class thriller and Anderson’s nostalgic auteur cinema therefore clarifies a broader transnational pattern: women can be indispensable to how stories move while remaining secondary to who finally owns those stories.[6][13][2]