Eroticism in the Colonial Context: The Handmaiden
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This paper explores Park Chan-wook’s film adaptation of Sarah Waters’ Fingersmith, set in Victorian era Britain, with particular attention to his erotic transformation of the novel into a 1930s Japanese-occupied Korean setting. This study carries out a comparative analysis of the original novel and film, which is triangulated with a close look at viewers’ online comments in South Korea and the UK. In this globalized era, adaptation industry closely engages with ‘concepts of audience agency’ (Murray, 2012, p. 4), because reception becomes another form of production. The analysis has shown that the historical shift and reinforced eroticism in park’s adaptation was imbued with his ideologies and interpretation of the original themes, with the purpose of transforming the original to function viably in the Korean culture. The Korean viewers on the film have shown dichotomous opinions, whilst UK film critics highly praised the film and Amazon UK viewers were mostly negative towards the adaptation, which supports the argument that ‘appropriate’ appropriation and proximation in adaptation for different audiences and cultures is of crucial in film adaptation.
Abstract
This paper explores Park Chan-wook’s film adaptation of Sarah Waters’ Fingersmith, set in Victorian era Britain, with particular attention to his erotic transformation of the novel into a 1930s Japanese-occupied Korean setting. This study carries out a comparative analysis of the original novel and film, which is triangulated with a close look at viewers’ online comments in South Korea and the UK. In this globalized era, adaptation industry closely engages with ‘concepts of audience agency’ (Murray, 2012, p. 4), because reception becomes another form of production. The analysis has shown that the historical shift and reinforced eroticism in park’s adaptation was imbued with his ideologies and interpretation of the original themes, with the purpose of transforming the original to function viably in the Korean culture. The Korean viewers on the film have shown dichotomous opinions, whilst UK film critics highly praised the film and Amazon UK viewers were mostly negative towards the adaptation, which supports the argument that ‘appropriate’ appropriation and proximation in adaptation for different audiences and cultures is of crucial in film adaptation.
참고문헌 (19)
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