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The Host exposes the deep crime that suffuses contemporary Korean life. Christina Klein gave an example about The Host and Korea’s relationship with the United States in her book Why American Studies Needs to Think about Korean Cinema, or, Transnational Genres in the Films of Bong Joon-ho:
The government’s lies, the police do not listen to them about they have received call from Hyun-seo, the hospital would not release them, the fumigators in the riverside area are easily bribed with a bucket of money, and betrayal by an old friend of Nam-il to get money that he needs to pay off the staggering credit card debt he accrued in his climb into the middle class. Through this and other episodes, Bong satirized the very notion of Korea as the “miracle of the Han,” recasting that economic “miracle” as a mutant monster and revealing the high financial, social, and moral costs of modernization. …show more content…
Memories of Murder story focuses on two detectives who have to deal with a serial killer case in the 1980s but aims to describe not the outward appearance of that era, but rather the reigning collective unconsciousness. The issue of “seeing” is the key in the film. Detective Bak Du-man is someone who believed in the eyes’ clarity and conviction. He specifies the suspects by seeing their eyes. However, Bak Du-man loses his confidence about his sight as the film progress. In the final scene, Bak Du-man returns to the crime spot and meet a child who tells him someone suspicious visited the spot. Bak Du-man shocked and gaze the camera blankly. The “eyes” that always full of conviction now turns into a gaze. The 1980s was an era under the rule of “eye.” The pursuer and the pursued, the suppressor and the suppressed were all in severe straits. This era was an era that dulled “eyes” full of conviction and belief. The political story that can be told from Bak Du-man final, confused expression is the darkness of history. The final scene indicates confusion in the present when faced with the overwhelming question of history. The loss of convidence of South Korea history began with social and political change in the late 1990s. The shift in interest within Korean film from grand narrative to smaller stories has a deep connection with
The government’s lies, the police do not listen to them about they have received call from Hyun-seo, the hospital would not release them, the fumigators in the riverside area are easily bribed with a bucket of money, and betrayal by an old friend of Nam-il to get money that he needs to pay off the staggering credit card debt he accrued in his climb into the middle class. Through this and other episodes, Bong satirized the very notion of Korea as the “miracle of the Han,” recasting that economic “miracle” as a mutant monster and revealing the high financial, social, and moral costs of modernization. …show more content…
Memories of Murder story focuses on two detectives who have to deal with a serial killer case in the 1980s but aims to describe not the outward appearance of that era, but rather the reigning collective unconsciousness. The issue of “seeing” is the key in the film. Detective Bak Du-man is someone who believed in the eyes’ clarity and conviction. He specifies the suspects by seeing their eyes. However, Bak Du-man loses his confidence about his sight as the film progress. In the final scene, Bak Du-man returns to the crime spot and meet a child who tells him someone suspicious visited the spot. Bak Du-man shocked and gaze the camera blankly. The “eyes” that always full of conviction now turns into a gaze. The 1980s was an era under the rule of “eye.” The pursuer and the pursued, the suppressor and the suppressed were all in severe straits. This era was an era that dulled “eyes” full of conviction and belief. The political story that can be told from Bak Du-man final, confused expression is the darkness of history. The final scene indicates confusion in the present when faced with the overwhelming question of history. The loss of convidence of South Korea history began with social and political change in the late 1990s. The shift in interest within Korean film from grand narrative to smaller stories has a deep connection with