Park Chan-wook, one of the most internationally acclaimed Korean filmmakers, uses language as an important aspect of characterization in The Handmaiden, his adaptation of Sarah Water’s novel Fingersmith. The historical background and the characters’ nationalities are changed, but code-switching between two languages – i.e., Korean and Japanese – recurs throughout the film, thereby enhancing its relevance for the Korean audience. Drawing on the notion of ‘proximity’ and reader response theory, this study examines the role of languages in Park’s characterization and proximation of the original work for the Korean audience, and the extent to which the shifts in proximity and the use of languages contribute to British audiences’ affective experiences when this Korean adaptation is subtitled in English.

中文翻译：

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在殖民语境中翻译语码转换

朴赞郁是最受国际赞誉的韩国电影制作人之一，他在改编自莎拉·沃特 (Sarah Water) 的小说《指匠》的《使女》中将语言作为人物塑造的一个重要方面。历史背景和角色的国籍发生了变化，但韩语和日语这两种语言之间的代码转换贯穿整部电影，从而增强了它对韩国观众的相关性。借鉴“接近度”和读者反应理论的概念，本研究考察了语言在 Park 为韩国观众描述和接近原作中的作用，以及接近度的变化和语言的使用在多大程度上有助于当这部韩剧改编成英文字幕时，英国观众的情感体验。