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The Handmaiden and Colonial Korea, an Interview with Dr. Kelly Jeong Transcript

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The Handmaiden and Colonial Korea, an Interview with Dr. Kelly Jeong Transcript Episode 8: The Handmaiden and Colonial Korea, An Interview with Dr. Kelly Jeong Transcript Stephanie [00:00:00] Hello, I'm Steph. Melissa [00:00:01] And I'm Mel. Stephanie [00:00:02] And this is East Asia for All, a podcast about East Asian pop culture and media. Melissa [00:00:07] If you're listening right now, you, like us, probably also have an addiction to East Asian films, cartoons, memes, music and much, much more. Stephanie [00:00:17] Between the two of us, we've lived on and off in China, Taiwan, and Japan since 2007. Melissa [00:00:22] We also both have PhDs in Chinese history, and we're both working as professors in the Midwest. Stephanie [00:00:28] I'm at St. Olaf College in the Departments of History and Asian Studies. Melissa [00:00:31] And I teach history at St. Mary's University of Minnesota. Stephanie [00:00:35] So we're taking our love for East Asia, our experiences there, and the knowledge we've gained in the ivory tower and making it available beyond our classroom walls. Melissa [00:00:47] Today's episode is about The Handmaiden, a 2016 film by South Korean director Park Chan-wook. Stephanie [00:00:54] ...of Oldboy fame. If you keep up with Park's filmography. Melissa [00:00:57] The Handmaiden has a really interesting lineage. It's an adaptation of Sarah Waters' 2002 novel Fingers Smith. Stephanie [00:01:04] Waters' novel is set in Victorian-era Britain and it's sort of a crime story, historical mystery and lesbian romance. It's pretty much got it all. Melissa [00:01:13] Park Chan-wook's retelling is set in colonial Korea, but it retains most of Waters' characters and plot points pretty faithfully. Stephanie [00:01:21] The general plot of both the original novel and Park's film is that the central protagonist is a woman, a pickpocket who is raised in a sort of for-profit foundling home and orphanage. She's asked by an associate, a con artist, to help him scam rich heiress out of her fortune. Melissa [00:01:38] In the film Kim Tae-ri plays the protagonist, Sook-Hee, a young Korean woman who lives in Japanese occupied Korea. Stephanie [00:01:46] The film's con man, who goes by the Japanese name Count Fujiwara, asks Sook-Hee to help him scam a rich heiress. A Japanese woman named Lady Hideko. Melissa [00:01:56] Count Fujiwara wants Sook-Hee to become the handmaiden of Lady Hideko and help him seduce Lady Hideko so that she will marry him and he can abscond with her fortune, giving a portion to Sook-Hee for her help. Stephanie [00:02:09] As we mentioned in the interview, few of the characters are who they seem to be, and the plot quickly becomes twisted as each character pursues their own interests and tries to hide their identity and plan from others. Melissa [00:02:20] You'll notice that there are both Japanese and Korean characters in this film, even though it's entirely set in Korea. That's because the film is set during the Japanese colonial period. Stephanie [00:02:30] Historical recap: Japan officially colonized Korea from 1910 to 1945, but actually, Japan exercised a great deal of control there much earlier. Following its victory in the Sino-Japanese War in 1895 and the Sino-Russian War* [Note: actually Russo-Japanese] in 1905. Melissa [00:02:46] No specific date is given for the film's setting, but we can probably assume it takes place during official Japanese rule between 1910 and 1945. Stephanie [00:02:56] And Japanese colonial rule was brutal. The colonial government did back off in some ways immediately after the March First Independent Movement in 1919, which was a popular protest movement against Japanese rule, but as the decades went on, Japan's control became tighter and tighter. Melissa [00:03:13] The Japanese government's policies attempted to force Koreans into renaming themselves with Japanese names, speaking Japanese instead of Korean, and worshiping the Japanese emperor. Stephanie [00:03:25] They also drafted men into working for and eventually serving in the Japanese Imperial Army. Melissa [00:03:30] You may also be familiar with the so-called "comfort women," women who were tricked and coerced into serving as sexual slaves for the Japanese Imperial Army. Stephanie [00:03:39] In general, there were many other coercive measures designed to simultaneously exploit and assimilate Koreans. While Japanese colonial settlers in Korea had many political and economic privileges that Koreans themselves were systematically denied. Melissa [00:03:54] The film does an excellent job showing the uneven power dynamics in colonial Korea. Stephanie [00:03:59] And The Handmaiden is a really rich and fascinating film. But we gotta warn you that the film is quite sexually explicit and graphically violent. Melissa [00:04:10] If you've seen other films by Park Chan-wook, you know what you're getting into. Stephanie [00:04:14] Nonetheless, we really enjoyed the film and recording this episode, particularly because we're joined today by Dr. Kelly Jeong, a professor of comparative literature and Korean studies at UC Riverside. Melissa [00:04:27] We hope you enjoyed the episode. Melissa [00:04:33] Hello, everyone. Today, we're going to be talking about Park Chan-work's The Handmaiden. And we've brought in a guest interviewee to help us talk about that. We have Dr. Kelly Jeong. Would you mind introducing yourself? Kelly [00:04:46] Hi, everyone. My name is Kelly Jeong and I'm at UC Riverside at the Department of Comparative Literature and Languages. And my main areas of research and teaching are modern Korean literature and Korean film. Melissa [00:04:59] Which is exactly why we brought you in. It's perfect. Kelly [00:05:04] Thanks for inviting me. Stephanie [00:05:05] Yeah. Thanks so much for coming. We're so excited. We've been meaning to do an episode on The Handmaiden for a really long time. We were just thinking one of the first things we're thinking about with The Handmaiden as we watched it, considering especially, you know, to critical acclaim, it was very celebrated. It was sold in 175 countries. It grossed over 37.7 million dollars. But one thing we're thinking about was how popular was it with mainstream audiences? And I don't know if you can speak to that at all. Just kind of a general question. Kelly [00:05:36] You mean to mainstream audiences in Korea? Stephanie [00:05:38] Exactly. Kelly [00:05:39] So Park Chan-wook's, I think his first feature film called JSA, Joint Security Area, did really well, which allowed him to make further more movies, more and more feature length films. And this is only, the only other film that did, maybe just not as well, but pretty well. So he is a critically acclaimed filmmaker, but his films don't always do very well with the mainstream audiences in South Korea, who find a subject matter sometimes kind of difficult to handle. So, for example, among the Revenge trilogy, I think Oldboy did quite well. But the other two not so well. So this one did OK. It wasn't a spectacular box office success, but it did pretty well. Melissa [00:06:27] OK. Stephanie [00:06:28] Yeah. Very interesting. Melissa [00:06:29] Yeah. And then I think one of our follow up questions about that was then how common, well-received, popular are queer stories? Queer romances, lesbian romances like this one. Kelly [00:06:45] My short answer will be it depends on the genre. Right. So manga or manhwa in Korean, they're very popular. So I think you're well aware of the yaoi genre, right. Stephanie [00:06:56] Right. That's exactly what we were thinking. Kelly [00:06:57] Yes. Yes. And the baeghab or "lily" genre is lesbian version of yaoi. So they're quite popular among especially younger audiences. But in terms of film and TV, I think it still has sort of limited appeal. Yeah, I would say that it actually is a liability when it comes to major production like this to have a sense, have the central characters who are involved in a lesbian relationship. So this was a big risk, I think, that the director took and I'm sure his production company. But, you know, it paid off. I think in the end, because obviously it's central to the narrative. Right. Melissa [00:07:45] Yeah, definitely. Stephanie [00:07:47] Right. That was also my kind of gut feeling was that perhaps it maybe was a bit of a risk and I don't know, so this is related to the yaoi phenomenon in Japan. I wonder if so then for queer love stories or lesbian love stories in South Korea. Is it also the case that it is the main audience is straight women? This is the case saying yaoi, young straight women... Melissa [00:08:11] Right. Stephanie [00:08:11] ...often, with these yaoi or boys love stories. Kelly [00:08:14] Yes. Yeah. Stephanie [00:08:15] Is that also the case? Kelly [00:08:16] Yeah. That is the case. Stephanie [00:08:17] OK.
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