Loli Kim – författare

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 own toolboxes 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 potentials can be inferred in particular narrative contexts.

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 own toolboxes 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 potentials can be inferred in particular narrative contexts.

The K-Wave On-Screen provides an engaging and accessible exploration of the meaning of ‘K-’ through the lens of words and objects in K-dramas and K-films.

Once a small subculture known only to South Korea’s East Asian neighbours, the Korean Wave has exploded in popularity around the globe in the last decade. Its success has been fuelled by social media and the advanced technological capabilities of South Korea. With #KpopTwitter having amassed 7.8 billion tweets and with K-films receiving acclaim from major award ceremonies, the K-wave is now a global cultural phenomenon. This book touches on globally popular productions, such as Parasite (2019), Squid Game (2021), Pachinko (2022), SKY Castle (2018), and Kim Ji-young: Born 1982 (2019) to highlight that K- has departed from the traditional meaning of ‘Korean-ness’ to become a new, globally-informed, and hybrid entity.

This book will be of interest to students in East Asian studies, and those engaged with Korean language learning. The book will also appeal to those interested in Korean culture and media.

The K-Wave On-Screen provides an engaging and accessible exploration of the meaning of ‘K-’ through the lens of words and objects in K-dramas and K-films.

Once a small subculture known only to South Korea’s East Asian neighbours, the Korean Wave has exploded in popularity around the globe in the last decade. Its success has been fuelled by social media and the advanced technological capabilities of South Korea. With #KpopTwitter having amassed 7.8 billion tweets and with K-films receiving acclaim from major award ceremonies, the K-wave is now a global cultural phenomenon. This book touches on globally popular productions, such as Parasite (2019), Squid Game (2021), Pachinko (2022), SKY Castle (2018), and Kim Ji-young: Born 1982 (2019) to highlight that K- has departed from the traditional meaning of ‘Korean-ness’ to become a new, globally-informed, and hybrid entity.

This book will be of interest to students in East Asian studies, and those engaged with Korean language learning. The book will also appeal to those interested in Korean culture and media.

The Language of Asian Gestures explores Asian gestures as a non-verbal language within the context of films and dramas.

This book provides a cross-cultural Asian perspective on a range of important common gestures and their meanings, covering a range of Asian regions including Korea, China, Hong Kong, Japan, Taiwan, Vietnam, Singapore, Thailand, Indonesia, the Philippines, India, and Pakistan. While most studies focus on text-based communication, gestures find themselves overshadowed by text and speech. Asian gestures, too, often reside in the shadow of Eurocentric viewpoints. This book will shift this dynamic and amplify the voices that have typically been marginalised within 20th-century Eurocentric discussions.

The book will be informative for students and researchers interested in Asian languages, cultures, film studies, and pragmatics. It bridges the gap between words and gestures, unveiling a world of concealed meanings and enriching our understanding of diverse forms of expression.

The Language of Asian Gestures explores Asian gestures as a non-verbal language within the context of films and dramas.

This book provides a cross-cultural Asian perspective on a range of important common gestures and their meanings, covering a range of Asian regions including Korea, China, Hong Kong, Japan, Taiwan, Vietnam, Singapore, Thailand, Indonesia, the Philippines, India, and Pakistan. While most studies focus on text-based communication, gestures find themselves overshadowed by text and speech. Asian gestures, too, often reside in the shadow of Eurocentric viewpoints. This book will shift this dynamic and amplify the voices that have typically been marginalised within 20th-century Eurocentric discussions.

The book will be informative for students and researchers interested in Asian languages, cultures, film studies, and pragmatics. It bridges the gap between words and gestures, unveiling a world of concealed meanings and enriching our understanding of diverse forms of expression.

The Language of Food: Through the Lens of East Asian Films and Drama invites readers into the fascinating world where food culture and language intersect, revealing how each dish communicates beyond mere taste.

Through East Asian films and television shows, this book uncovers the rich tapestry of ''food languages'' embedded within East Asian cultures. Divided into three parts – Base, Ingredients, and Seasoning – this book provides a structured exploration of this phenomenon. The Base section offers philosophical and historical context, while the Ingredients section delves deeper into specific themes, using examples from film and television drama to illustrate the nuanced communication inherent in food culture. Finally, the book is ''seasoned'' with linguistic insights and a practical food words glossary, aiding readers in navigating the intricate verbal and cultural nuances at play. This illuminating resource goes beyond the realm of food itself, offering a profound understanding of how each dish carries its language, enriching communication and deepening cultural connections.

This book will captivate students and researchers of East Asian languages, media studies, film studies, food studies, and Korean Wave studies and anyone intrigued by the intricate relationship between food and language.