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Understanding Korean Film: A Cross-Cultural Perspective [Hardback]

  • Formāts: Hardback, 248 pages, height x width: 234x156 mm, weight: 503 g, 12 Tables, black and white; 162 Halftones, black and white; 162 Illustrations, black and white
  • Sērija : Routledge Studies in East Asian Translation
  • Izdošanas datums: 30-Nov-2021
  • Izdevniecība: Routledge
  • ISBN-10: 0367546205
  • ISBN-13: 9780367546205
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  • Formāts: Hardback, 248 pages, height x width: 234x156 mm, weight: 503 g, 12 Tables, black and white; 162 Halftones, black and white; 162 Illustrations, black and white
  • Sērija : Routledge Studies in East Asian Translation
  • Izdošanas datums: 30-Nov-2021
  • Izdevniecība: Routledge
  • ISBN-10: 0367546205
  • ISBN-13: 9780367546205
Citas grāmatas par šo tēmu:
"Film viewing presents a unique situation in which the film viewer is unwittingly placed in the role of a multimodal translator, finding themselves entirely responsible for interpreting multifaceted meanings at the mercy of their own semiotic repertoire.Yet, researchers have made little attempt, as they have for literary texts, to explain the gap in translation when it comes to multimodality. It is no wonder then that, in an era of informed consumerism, film viewers have been trying to develop their owntoolboxes for the tasks that they are faced with when viewing foreign language films by sharing information online. This is particularly the case with South Korean film, which has drawn the interest of foreign viewers who want to understand these untranslatable meanings and even go as far as learning the Korean language to do so. Understanding Korean Film: A Cross-Cultural Perspective breaks this long-awaited ground, by explaining the meaning potential of a selection of common Korean verbal and non-verbal expressions in a range of contexts in South Korean film that are often untranslatable for English-speaking Western viewers. Through the selection of expressions provided in the text, readers become familiar with a system that can be extended more generally to understanding expressions in South Korean films. Formal analyses are presented in the form of in-depth discursive deconstructions of verbal and non-verbal expressions within the context of South Korea's Confucian traditions. Our case studies thus illustrate, in a more systematic way, how various meaning potential can be inferred in particular narrative contexts"--

Understanding Korean Film: A Cross-Cultural Perspective explains the potential meaning of a selection of common Korean verbal and non-verbal expressions in a range of contexts in South Korean film that are often untranslatable for English-speaking Western viewers.

List of figures
viii
List of tables
xix
Acknowledgements xx
Preliminaries xxi
1 Introduction
1(6)
1.1 The global age of Korean film
1(1)
1.2 The one-inch barrier
2(1)
1.3 Film viewers seek visibility
2(1)
1.4 The importance of understanding Korean interactions
3(1)
1.5 What you will find in this book
4(3)
2 Theoretical background
7(27)
2.1 Calls for visibility
7(17)
2.1.1 Calls for visibility in national film studies
7(3)
2.1.2 Current K-film literature
10(3)
2.1.3 Defining foreign
13(4)
2.1.4 Invisibility in translation and foreignisation
17(1)
2.1.5 Cultural translation
18(1)
2.1.6 The implications of (in)visibles
19(2)
2.1.7 Cultural appropriation and the problems with anglicisation
21(3)
2.2 Korean communication: a bird's eye view
24(10)
2.2.1 Interactional dynamics: a socio-pragmatically rich language
25(1)
2.2.2 Distance matters: respect versus intimacy
26(1)
2.2.3 Speech styles
27(1)
2.2.4 Negotiating respect and intimacy: how to modulate expressions
28(1)
2.2.5 The importance of non-verbal communication
29(3)
2.2.6 How this culminates in multimodal invisibility in K-film
32(1)
2.2.7 Summary: socio-pragmatic invisibles in K-film translation
33(1)
3 The Korean cultural context
34(31)
3.1 Five relations: the fundament of neo-Confucianism
34(13)
3.1.1 Parents and children
35(4)
3.1.2 King and subjects
39(1)
3.1.3 Husband and wife
40(1)
3.1.4 Age
41(2)
3.1.5 Siblings
43(1)
3.1.6 Womanhood
44(3)
3.2 Contemporary Confucian context
47(15)
3.2.1 Oryun in contemporary Korea
49(13)
3.3 Additional concepts to familiarise yourself with
62(3)
3.3.1 Han
62(1)
3.3.2 Jeong
62(1)
3.3.3 Ansim
63(1)
3.3.4 Nunchi
63(1)
3.3.5 Chaemyeon
63(2)
4 Socio-pragmatic strategies in K-film
65(100)
4.1 How to address people: address terms and second-person pronouns
66(2)
4.2 Non-verbal honourifics
68(1)
4.3 Multimodal modulation hypothesis
69(1)
4.4 How do we define a `socio-pragmaticprimitive'?
70(2)
4.4.1 Social factors
70(1)
4.4.2 Classifying the politeness of expressions
71(1)
4.5 Socio-pragmatic primitives in more concrete terms
72(2)
4.5.1 Abbreviations and logical operators
72(1)
4.5.2 Reading conditional and defeasible logic
73(1)
4.6 A socio-pragmatic toolbox for interpreting K-film
74(91)
4.6.1 Non-verbal socio-pragmatic primitives
74(73)
4.6.2 Verbal socio-pragmatic primitives
147(17)
4.6.3 Summary: using socio-pragmatic primitives for film analysis and casual film viewing
164(1)
5 Case studies
165(64)
5.1 Sado
165(9)
5.1.1 Context
166(2)
5.1.2 Case Study 1: How to irritate your neo-Confucian father
168(2)
5.1.3 Case Study 2: The girl doesn't know her place
170(4)
5.2 Gisaengchung
174(17)
5.2.1 Context
175(1)
5.2.2 Case Study 3: Why did Mr. Kim kill Mr. Park?
176(15)
5.3 82 Nyeonsaeng Kim Ji-young
191(10)
5.3.1 Context
192(1)
5.3.2 Case Study 4: What happened to Ji-young at Chuscok?
193(8)
5.4 Taeksi Unjeonsa
201(6)
5.4.1 Context
201(1)
5.4.2 Case Study 5: He isn't just having a hard time, he's lost all hope
202(1)
5.4.3 Case Study 6: They're good friends, it's not just humorous
203(1)
5.4.4 Case Study 7: He's not just saying sorry, he genuinely feels guilty
204(1)
5.4.5 Case Study 8: Skinship and the development of Sa-bok and Jurgen's bond
205(2)
5.5 Chingu
207(4)
5.5.1 Case Study 9:'You wanna die?'
208(1)
5.5.2 Case Study 10: Frenemies
209(2)
5.6 Jopok manura
211(8)
5.6.1 Case Study 11: Who does Eun-jin respect?
211(2)
5.6.2 Case Study 12: How `not' to meet your Korean in-laws
213(2)
5.6.3 Case Study 13: 101 on being a woman: uhhh oppa!
215(1)
5.6.4 Case Study 14: From gangster to wife
216(3)
5.7 Hanyeo
219(4)
5.7.1 Case Study 15: He's losing his temper
219(1)
5.7.2 Case Study 16: Don't call me crazy!
220(1)
5.7.3 Case Study 17: The Gohs'insincerity
220(2)
5.7.4 Case Study 18: The housekeeper's apology
222(1)
5.8 Ai Kaen Seupikeu
223(6)
5.8.1 Case Study 19: Stimulating empathy, Korean style!
223(3)
5.8.2 Case Study 20: Creating poignancy in language use
226(1)
5.8.3 Case Study 21: Defining bad
227(1)
5.8.4 Case Study 22: Chief Park? Forget it, I'll call you Min-jae!
228(1)
6 Conclusion
229(3)
6.1 Beyond the subtitle
229(1)
6.2 The terms for understanding K-film
229(1)
6.3 Film researchers as translators
230(1)
6.4 The future of this research
231(1)
Basic multimodal glossary for k-film viewing 232(3)
Appendix 235(2)
References 237(5)
Filmography 242(1)
Index 243
Jieun Kiaer is professor of Korean Language and Linguistics at the University of Oxford. She publishes widely on East Asian translation, with particular emphasis on Korean translation. Her publications include The Routledge Course in Korean Translation (2018) and Korean Literature through the Korean Wave (with Anna Yates-Lu, 2019). Kiaer is also the series editor for Routledge Studies in East Asian Translation.

Loli Kim is a DPhil researcher in Korean Studies at the University of Oxford. Her work explores multimodal, semantic, and cross-cultural communication, particularly from a Korean perspective. Her current research focuses on the translation of multimodal meaning-making processes in South Korean film that become untranslatable for Anglophone European viewers, with special focus on socio-pragmatic verbal and non-verbal behavioural expressions.