Unethical Adaptation: Indigenization and Sex in Chan-wook Park’s The Handmaiden (2016)

In contemporary cultural scenes saturated by ‘intermediality’ and ‘transmediality’, adaptation studies have challenged the distinction and hierarchy between the source and its adaptation, the author and the reader-spectator, and a variety of genres and media. While early critics of adaptation studies centred on fidelity criticism, recently Linda Hutcheon breaks free from literary elitism and emphasizes how stories, ‘like genes’, adapt to new environments ‘by virtue of mutation’. Hutcheon argues, ‘the fittest [stories] do more than survive; they flourish’ in today’s fierce competition for ‘cultural selection’. This postmodernist notion of adaptation as proliferation, however, remains curiously reticent about the ‘value’ of such proliferation. My article argues that in the era of textual proliferation, adaptation has an ethical responsibility to voice the story of the socially and sexually ‘unfit’. I then analyse The Handmaiden as a failed attempt at this ethical project. Directed by Chan-wook Park, a South Korean auteur, The Handmaiden borrows from Sarah Waters’ Fingersmith (2002), a novel about female romantic friendship in nineteenth-century England. Although Park’s visually stunning film epitomizes the indigenization of the ‘fittest’ story, its graphic portrayal of lesbian sex and change of setting leaves the question of sexual objectification of Asian women and Japanese colonization unanswered.