Abstract
Taking Lee Chang-dong's Burning and Bong Joon-ho's Parasite as its primary objects of analysis, this study examines the divergent paths through which the two directors approach class contradiction and the critique of capitalist social relations, attending specifically to narrative technique, cinematic language, and philosophical orientation. A sustained comparison reveals that Lee Chang-dong, through a mode of storytelling inflected with existential concern, renders the isolation and loss of meaning experienced by individuals situated within a capitalist order. Meanwhile, Bong Joon-ho, working through allegorical construction and generic conventions, visualizes class divisions as dynamic confrontation and structural oppression made palpable on screen. These two artistic strategies, in their respective ways, transcend local cultural specificities and transform Korean cinema into a mirror of the global capitalist system, prompting sustained international reflection on social inequality. Furthermore, the research highlights how these distinct cinematic methodologies not only reflect domestic socioeconomic realities but also resonate with universal audiences by articulating shared anxieties regarding wealth distribution and marginalization. By bridging film studies and sociological theory, this paper provides a comprehensive framework for understanding the evolving role of East Asian cinema in global discourse. The study ultimately argues that it is precisely this conjunction of philosophical depth and formal innovation that positions Korean cinema as a significant model for social critique in contemporary filmmaking, while simultaneously carving out a distinctive cinematic idiom within the broader global cultural landscape.