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Abstract

Abstract

Park Chan-wook, one of the most internationally acclaimed Korean filmmakers, uses language as an important aspect of characterization in , his adaptation of Sarah Water’s novel . The historical background and the characters’ nationalities are changed, but code-switching between two languages – i.e., Korean and Japanese – recurs throughout the film, thereby enhancing its relevance for the Korean audience. Drawing on the notion of ‘proximity’ and reader response theory, this study examines the role of languages in Park’s characterization and proximation of the original work for the Korean audience, and the extent to which the shifts in proximity and the use of languages contribute to British audiences’ affective experiences when this Korean adaptation is subtitled in English.

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/content/journals/10.1075/tis.19075.cho
2020-11-09
2021-05-15
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