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viii | |
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xix | |
Acknowledgements |
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xx | |
Preliminaries |
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xxi | |
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1 | (6) |
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1.1 The global age of Korean film |
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1 | (1) |
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2 | (1) |
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1.3 Film viewers seek visibility |
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2 | (1) |
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1.4 The importance of understanding Korean interactions |
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3 | (1) |
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1.5 What you will find in this book |
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4 | (3) |
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7 | (27) |
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7 | (17) |
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2.1.1 Calls for visibility in national film studies |
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7 | (3) |
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2.1.2 Current K-film literature |
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10 | (3) |
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13 | (4) |
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2.1.4 Invisibility in translation and foreignisation |
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17 | (1) |
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2.1.5 Cultural translation |
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18 | (1) |
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2.1.6 The implications of (in)visibles |
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19 | (2) |
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2.1.7 Cultural appropriation and the problems with anglicisation |
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21 | (3) |
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2.2 Korean communication: a bird's eye view |
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24 | (10) |
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2.2.1 Interactional dynamics: a socio-pragmatically rich language |
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25 | (1) |
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2.2.2 Distance matters: respect versus intimacy |
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26 | (1) |
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27 | (1) |
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2.2.4 Negotiating respect and intimacy: how to modulate expressions |
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28 | (1) |
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2.2.5 The importance of non-verbal communication |
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29 | (3) |
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2.2.6 How this culminates in multimodal invisibility in K-film |
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32 | (1) |
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2.2.7 Summary: socio-pragmatic invisibles in K-film translation |
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33 | (1) |
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3 The Korean cultural context |
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34 | (31) |
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3.1 Five relations: the fundament of neo-Confucianism |
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34 | (13) |
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3.1.1 Parents and children |
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35 | (4) |
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39 | (1) |
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40 | (1) |
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41 | (2) |
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43 | (1) |
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44 | (3) |
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3.2 Contemporary Confucian context |
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47 | (15) |
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3.2.1 Oryun in contemporary Korea |
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49 | (13) |
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3.3 Additional concepts to familiarise yourself with |
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62 | (3) |
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62 | (1) |
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62 | (1) |
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63 | (1) |
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63 | (1) |
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63 | (2) |
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4 Socio-pragmatic strategies in K-film |
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65 | (100) |
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4.1 How to address people: address terms and second-person pronouns |
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66 | (2) |
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4.2 Non-verbal honourifics |
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68 | (1) |
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4.3 Multimodal modulation hypothesis |
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69 | (1) |
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4.4 How do we define a `socio-pragmaticprimitive'? |
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70 | (2) |
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70 | (1) |
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4.4.2 Classifying the politeness of expressions |
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71 | (1) |
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4.5 Socio-pragmatic primitives in more concrete terms |
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72 | (2) |
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4.5.1 Abbreviations and logical operators |
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72 | (1) |
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4.5.2 Reading conditional and defeasible logic |
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73 | (1) |
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4.6 A socio-pragmatic toolbox for interpreting K-film |
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74 | (91) |
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4.6.1 Non-verbal socio-pragmatic primitives |
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74 | (73) |
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4.6.2 Verbal socio-pragmatic primitives |
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147 | (17) |
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4.6.3 Summary: using socio-pragmatic primitives for film analysis and casual film viewing |
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164 | (1) |
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165 | (64) |
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165 | (9) |
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166 | (2) |
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5.1.2 Case Study 1: How to irritate your neo-Confucian father |
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168 | (2) |
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5.1.3 Case Study 2: The girl doesn't know her place |
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170 | (4) |
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174 | (17) |
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175 | (1) |
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5.2.2 Case Study 3: Why did Mr. Kim kill Mr. Park? |
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176 | (15) |
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5.3 82 Nyeonsaeng Kim Ji-young |
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191 | (10) |
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192 | (1) |
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5.3.2 Case Study 4: What happened to Ji-young at Chuscok? |
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193 | (8) |
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201 | (6) |
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201 | (1) |
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5.4.2 Case Study 5: He isn't just having a hard time, he's lost all hope |
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202 | (1) |
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5.4.3 Case Study 6: They're good friends, it's not just humorous |
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203 | (1) |
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5.4.4 Case Study 7: He's not just saying sorry, he genuinely feels guilty |
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204 | (1) |
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5.4.5 Case Study 8: Skinship and the development of Sa-bok and Jurgen's bond |
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205 | (2) |
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207 | (4) |
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5.5.1 Case Study 9:'You wanna die?' |
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208 | (1) |
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5.5.2 Case Study 10: Frenemies |
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209 | (2) |
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211 | (8) |
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5.6.1 Case Study 11: Who does Eun-jin respect? |
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211 | (2) |
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5.6.2 Case Study 12: How `not' to meet your Korean in-laws |
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213 | (2) |
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5.6.3 Case Study 13: 101 on being a woman: uhhh oppa! |
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215 | (1) |
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5.6.4 Case Study 14: From gangster to wife |
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216 | (3) |
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219 | (4) |
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5.7.1 Case Study 15: He's losing his temper |
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219 | (1) |
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5.7.2 Case Study 16: Don't call me crazy! |
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220 | (1) |
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5.7.3 Case Study 17: The Gohs'insincerity |
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220 | (2) |
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5.7.4 Case Study 18: The housekeeper's apology |
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222 | (1) |
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223 | (6) |
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5.8.1 Case Study 19: Stimulating empathy, Korean style! |
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223 | (3) |
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5.8.2 Case Study 20: Creating poignancy in language use |
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226 | (1) |
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5.8.3 Case Study 21: Defining bad |
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227 | (1) |
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5.8.4 Case Study 22: Chief Park? Forget it, I'll call you Min-jae! |
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228 | (1) |
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229 | (3) |
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229 | (1) |
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6.2 The terms for understanding K-film |
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229 | (1) |
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6.3 Film researchers as translators |
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230 | (1) |
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6.4 The future of this research |
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231 | (1) |
Basic multimodal glossary for k-film viewing |
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232 | (3) |
Appendix |
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235 | (2) |
References |
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237 | (5) |
Filmography |
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242 | (1) |
Index |
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243 | |