Glocalización y uso del espacio en las adaptaciones cinematográficas surcoreanas de obras literarias extranjeras. Los casos de Burning y La Doncella

  1. Trigo Maldonado, Alvaro 1
  1. 1 Universidad de Salamanca
    info

    Universidad de Salamanca

    Salamanca, España

    ROR https://ror.org/02f40zc51

Revista:
1616: Anuario de la Sociedad Española de Literatura General y Comparada

ISSN: 0210-7287

Ano de publicación: 2021

Número: 11

Páxinas: 203-218

Tipo: Artigo

DOI: 10.14201/1616202111203218 DIALNET GOOGLE SCHOLAR lock_openAcceso aberto editor

Outras publicacións en: 1616: Anuario de la Sociedad Española de Literatura General y Comparada

Resumo

This paper analyzes how the narratives of two Korean contemporary cinema productions based on foreign literary works have given birth to products that continue to articulate themselves around the local and the appeal to a collective national identity following a strategy of glocalization adopted by the South Korean cinema industry. Two recent psychological thrillers that share this characteristic have been selected: Lee Changdong’s Burning (2018) and Park Chan-wook’s The Handmaiden (2016) based on the works of Haruki Murakami and Sarah Waters respectively. Through this essay it is emphasized how both adaptations use the spaces and narrative changes to pursue a glocalization approach that appeals to a shared Korean identity continuing a strategy of «consumer nationalism» which has been intrinsically related to both the film industry in South Korea and the historical development of Korean nationalism. It will be also argued how the two new products that emerge from this cultural translation do not limit themselves to an imitation of the source materials and go beyond them adding new depth and dimensions thus constituting full new works.

Referencias bibliográficas

  • Anderson, Benedict. Imagined Communities. Reflections on the Origin and Spread of Nationalism. Verso, 2006.
  • Armistead, Claire. «Sarah Waters. The Handmaiden turns pornography into a spectacle but its true to my novel’». The Guardian, 2017. https://www.theguardian.com/film/2017/apr/08/sarah-waters-the-handmaiden-turns-pornography-into-a-spectacle-but-its-true-to-my-novel- [febrero 2021].
  • Baldwind Lind, Paula (ed.). Telling and Re-telling Stories. Studies on Literary Adaptation to Film. Cambridge Scholars Publishing, 2016.
  • Chung, Hye Seung y David Scott Diffrient (eds.). Movie Migrations. Transnational Genre Flows and South Korean Cinema. Rutgers University Press, 2015.
  • Cumings, Bruce. Korea’s Place in The Sun. A Modern History. W. W. Norton & Company Inc., 2005.
  • De Ceuster, Koen. «The Nation Exorcised. The Historiography of Collaboration in South Korea». Korean Studies, 2002, volume 25, n.º 2.
  • Giménez, Gilberto. La cultura como identidad y la identidad como cultura. Instituto de Investigaciones Sociales de la unam, 2012.
  • Jin, Dal Yong. 2016a New Korean Wave. University of Illinois Press, 2016.
  • Jin, Eun Soo. 2016b. «The Handmaiden generates a buzz». Korea Joongang Daily, 03.05.2016. http://koreajoongangdaily.joins.com/news/article/article.aspx?aid=3018243 [febrero 2021].
  • Kim, Kristen Yonsoo. «The Handmaiden’s Explicit Lesbian Sex is shaking up Korean Cinema». 19.10.2016. https://www.complex.com/pop-culture/2016/10/park-chan-wook-the-handmaiden-lesbian-sex-scenes [febrero 2021].
  • Kim, Kyung Hyun. Virtual Hallyu. Korean Cinema of the Global Era. Duke University Press, 2011.
  • Kim, Sun Kyung: «Renaissance of Korean National Cinema as a Terrain of Negotiation and Contention between the Global and the Local: Analysing two Korean Blockbusters, Shiri (1999) and jsa (2000)». Universidad de Essex, 2006.
  • Lim, Dennis. Interview: Lee Changdong. En: Film Comment. Film Society of Lincoln Center. 2018. https://www.filmcomment.com/blog/cannes-interview-lee -chang-dong/
  • Ok, Hyeryoung. «The Politics of the Korean Blockbuster. Narrating the Nation and the Spectacle of ‘Glocalisation’ in 2009 Lost Memories». Transnationalism and Film Genres in East Asian Cinema. Spectator, Fall 2009, 29:2, pp. 37-47.
  • Park, Eddie: Pojangmacha. Tent of Nostalgia. En: Korea Exposé. https://www.koreaexpose.com/pojangmacha-tent-nostalgia/ [febrero, 2020].
  • Park, Heebon, Julie Sanders y Moonyoung Chung. «Secondary Pleasures, Spatial occupations and Postcolonial Departures. Park Chan-wook’s Agassi/The Handmaiden and Sarah Waters’s Fingersmith». Neo-Victorian Studies, 2019, 11:2, pp. 177-205.
  • Peirse, Alison y Daniel Martin (eds.). Korean Horror Cinema. Edinburgh University Press, 2013.
  • Shin, Yong-ha. Modern Korean History and Nationalism. Traducido al inglés por NM. Pankaj. Jimoondang, 2000.
  • Stam, Robert. World Literature, Transnational Cinema and Global Media. Towards a Transartistic Commons. Routledge, 2019.
  • Taylor Jones, Kate E. Rising Sun, Divided Land. Japanese and South Korean Filmmakers. Wallflower Press, 2013.
  • Topalovic, Goran. «Interview: Park Chan-wook». Filmcomment, 28.10.2016. https://www.filmcomment.com/blog/interview-park-chan-wook/ [febrero 2021].
  • Lee, Changdong. Burning. cgv Arthouse, 2018.
  • Park, Chan-wook. The Handmaiden. CJ Entertainment, 2016.
Fonte de datos: Dialnet