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"Home is Where the Kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)"

Research output: Contribution to journalArticlepeer-review

Original languageEnglish
Pages (from-to)169-185
Number of pages17
JournalAsian Cinema
Volume31
Issue number2
DOIs
Accepted/In press2020
Published2020

King's Authors

Abstract

The kitchen has become a prominent trope in East Asian cinema, the narratives of which revolve around the homecoming of female protagonists: Rinco’s Restaurant (2009) and Little Forest (2014, 2018). In part due to the fact that the films are adaptations of different media – novel and manga, respectively – and in part moti-vated by their narrative and style – the female protagonist’s loss of voice in Rinco’s Restaurant and the less frequent recourse to the verbal to express taste in these works – the audience is challenged to imagine the taste of, and pleasure in consum-ing, food, conveyed through only a limited set of sensorial modes. I focus on the transformative aspect of divergent modes of media storytelling in these films and their original source texts, and further argue that the kitchen becomes a ‘choric’ space for female protagonists where the relationship between mother and daughter is reconfigured in order to reinvent themselves.

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