The monster eventually disappears with a young girl who parents finally start following. The US government issues a warning regarding the dangerous virus from the monster that forces the Korean government to isolate its citizens and shut the area down to prevent the spread of the virus. The movie “The Host” presents a political, societal, economic, and environmental aspect.
As compared to other Korean blockbusters, the film does not tend to draw overtly on nationalism or the notion of the Korean nation. The film provides evidence of a noticeable disconnection between the pro-self-rule philosophy that is suitable for the domestic film industry and its trade and industry interests. While featuring overtly nationalist sentiments and avoiding direct tackling of any specific national issues, the film provides multilayered entry points for viewers of different nationalities and social backgrounds, stretching from Korean multiplex audiences to international art-house audiences (Nikki 47).
Eminent for its “messy” features, the film invites multiple readers. While drawing on specific historical memories of South Korean society, the film as well touches on contemporary global political happenings. Therefore, most readers and viewers perceive the film as a political satire of the American government’s latest military campaigns – War on Terror – and its relationship with South Korean government. Since the movie’s monster is unnamed and does not have overt symbolic connotations – the movie does not serve an allegorical, nationalist function – the meaning viewers take away from the film are polygonal, not one-dimensionally nationalistic.
The movie conveys high-octane ecstasies while artfully exploiting modern political fears, with few inspired visual humor intensifying its overriding mood of popcorn-movie excitement. The movie may be born outside sociopolitical tensions such as the scares about avian flu, but it is also a