Seoul in movie is a world of the fictional. At the same time, it is also a world of the real. Because Seoul in movie is a imaginary signifier reflecting our culture and our life rather than the real Seoul, the function of Seoul in films is like a mirror that can show the real world but can not be the real itself. So, the reading of Seoul in movie as the imaginary signifier means the recollecting work about Seoul existed in our memory and our mind which go through its history. Seoul represented in [Obaltan] in 60s and [The Glorious Period of Yongja] in 70s shows well the light and the shadow of Korean modernization as a developing country which can characterizes the de-humanization of the city. Also, Seoul represented in [The Host] in the mid of 2000s starts from the abnormal space of Seoul caused from the malfunction of the post-capitalism, proceeding to conflicting points for de-colonization resisting against the colonization of the capitalism as pointed by the post-modernist, Federic Jameson. Accordingly, the analysis for films which are dealt with in this article will be the historical approach and simultaneously the realization of our memory toward the image of Seoul.

Seoul in movie is a world of the fictional. At the same time, it is also a world of the real. Because Seoul in movie is a imaginary signifier reflecting our culture and our life rather than the real Seoul, the function of Seoul in films is like a mirror that can show the real world but can not be the real itself. So, the reading of Seoul in movie as the imaginary signifier means the recollecting work about Seoul existed in our memory and our mind which go through its history. Seoul represented in [Obaltan] in 60s and [The Glorious Period of Yongja] in 70s shows well the light and the shadow of Korean modernization as a developing country which can characterizes the de-humanization of the city. Also, Seoul represented in [The Host] in the mid of 2000s starts from the abnormal space of Seoul caused from the malfunction of the post-capitalism, proceeding to conflicting points for de-colonization resisting against the colonization of the capitalism as pointed by the post-modernist, Federic Jameson. Accordingly, the analysis for films which are dealt with in this article will be the historical approach and simultaneously the realization of our memory toward the image of Seoul.

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