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Article published In: Translation and Interpreting Studies
Vol. 17:2 (2022) ► pp.243–263

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Translating code-switching in the colonial context

Park Chan-wook’s The Handmaiden

ORCiD logo with link | Keimyung University, South Korea
ORCiD logo with link | Shanghai Jiao Tong University, China
ORCiD logo with link | University of Glasgow, Scotland, UK
Published online: 9 November 2020
DOI logo with link
https://doi.org/10.1075/tis.19075.cho
Abstract
Park Chan-wook, one of the most internationally acclaimed Korean filmmakers, uses language as an important aspect of characterization in The Handmaiden, his adaptation of Sarah Water’s novel Fingersmith. 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.
Article outline
  • Introduction
  • The colonial setting of The Handmaiden
  • Code-switching, characterization, and Korean audiences’ affective experiences
  • Code-switching in English subtitles and British audiences’ affective experiences
  • Conclusion
  • Notes
  • Filmography
  • References
References (53)
Filmography
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Boksuneun naeui geot/Sympathy for Mr. Vengeance. Directed by Park Chan-wook. 2002. Seoul: CJ Entertainment. Film.Google Scholar logo with link to Google Scholar
Chinjeolhan Keumjassi/Lady Vengeance. Directed by Park Chan-wook. 2005. Seoul: CJ Entertainment. Film.Google Scholar logo with link to Google Scholar
Oldeuboi/Oldboy. Directed by Park Chan-wook. 2003. Seoul: Show East. Film.Google Scholar logo with link to Google Scholar
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