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This study investigates how the queer codes in queer film posters are heterosexualized to fulfill a marketing strategy to maximize popularity. Twenty-two American, British and Canadian queer films screened in Korea were selected for a comparison of the original English film posters to their Korean counterparts. The patterns of variation in the queer codes were examined using the visual concepts of Kress and van Leeuwen (1996), including gaze, frame, salience, color, and layout. To analyze how the meanings of the original film posters are re-encoded by the translators, this study adopts Hall's (1980) encoding/decoding theory on “dominant-hegemonic reading,” “negotiated reading,” and “oppositional reading.” Generally, the Korean translated posters distorted the original meaning of the queer codes in the English film posters. The queer codes were changed to prevent the Korean posters from conflicting with domestic sentiment which is ill-disposed towards homosexuals. This shows that queer film posters are designed to attract more audiences the way general commercial films do. Thus, the queer codes in original English film posters are translated in their Korean counterparts to be re-encoded into a heterosexual point of view for marketing purposes.

목차

Abstract
I. 퀴어영화포스터와 번역
II. 퀴어코드 담론의 축소: 응시(gaze)와 틀(frame)
1. 응시의 변이: 일상적 담론으로의 전환
2. 틀의 변이: 퀴어코드의 개인 문제화
III. 퀴어코드의 선별적 삭제와 강화: 현저성(salience)과 상징이미지
1. 현저성의 유지: 특정 인물의 강조
2. 상징 이미지의 변이: 장르적 특징의 강화
IV. 퀴어코드의 명시화: 색상(color)과 배치(layout)
1. 색상의 변이: 퀴어의 정체성 드러내기
2. 배치의 변이: 퀴어코드 속의 이성애적 배치를 통한 비판
IV. 맺음말
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저자

• 신나안 [ Shin, Naan | 부산대학교 ]

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