Narrative, Identity, and Social Critique in Contemporary Cinema: Close Readings of Moonlight, Get Out, and Parasite
DOI:
https://doi.org/10.62051/svnwhb30Keywords:
Contemporary cinema; identity; representation; social critique; narrative form; close reading.Abstract
This article examines how selected contemporary films transform personal identity conflicts into broader forms of social critique. It narrows the broad category of modern cinema to three post-2000 feature films: Moonlight, Get Out, and Parasite. Through textual close reading and contextualized film analysis, the article argues that contemporary cinema does not merely mirror social anxieties but organizes them into affective and political experiences for viewers. The analysis focuses on three formal strategies: fragmented or restricted narration, visual and spatial symbolism, and the representation of marginalized subjectivity. Moonlight uses a triptych structure and sensory visual style to represent Black queer selfhood; Get Out adapts horror and thriller conventions to expose racial liberalism and bodily control; and Parasite uses vertical space and tonal shifts to frame class inequality as both domestic intimacy and systemic violence. By drawing on film form, representation theory, and narrative engagement research, the article shows that film can encourage viewers to re-evaluate race, sexuality, class, and belonging while acknowledging that representation alone cannot guarantee social change.
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