퀴어영화포스터 번역에서 퀴어코드의 이성애화
Heterosexualizing queer codes in the translation of queer film posters
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This study investigates how the queer codes in queer film posters are heterosexualized to fulfill a marketing strategy to maximize popularity. Twenty-two American, British and Canadian queer films screened in Korea were selected for a comparison of the original English film posters to their Korean counterparts. The patterns of variation in the queer codes were examined using the visual concepts of Kress and van Leeuwen (1996), including gaze, frame, salience, color, and layout. To analyze how the meanings of the original film posters are re-encoded by the translators, this study adopts Hall's (1980) encoding/decoding theory on “dominant-hegemonic reading,” “negotiated reading,” and “oppositional reading.” Generally, the Korean translated posters distorted the original meaning of the queer codes in the English film posters. The queer codes were changed to prevent the Korean posters from conflicting with domestic sentiment which is ill-disposed towards homosexuals. This shows that queer film posters are designed to attract more audiences the way general commercial films do. Thus, the queer codes in original English film posters are translated in their Korean counterparts to be re-encoded into a heterosexual point of view for marketing purposes.
Abstract
This study investigates how the queer codes in queer film posters are heterosexualized to fulfill a marketing strategy to maximize popularity. Twenty-two American, British and Canadian queer films screened in Korea were selected for a comparison of the original English film posters to their Korean counterparts. The patterns of variation in the queer codes were examined using the visual concepts of Kress and van Leeuwen (1996), including gaze, frame, salience, color, and layout. To analyze how the meanings of the original film posters are re-encoded by the translators, this study adopts Hall's (1980) encoding/decoding theory on “dominant-hegemonic reading,” “negotiated reading,” and “oppositional reading.” Generally, the Korean translated posters distorted the original meaning of the queer codes in the English film posters. The queer codes were changed to prevent the Korean posters from conflicting with domestic sentiment which is ill-disposed towards homosexuals. This shows that queer film posters are designed to attract more audiences the way general commercial films do. Thus, the queer codes in original English film posters are translated in their Korean counterparts to be re-encoded into a heterosexual point of view for marketing purposes.
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