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

Research output: Contribution to journalArticle

Original languageEnglish
JournalAsian Cinema
Volume31
Issue number2
DOIs
Publication statusAccepted/In press - 2020

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 that fact all three films are adaptations of different media—novel and manga, respectively—and in part motivated 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 consuming, 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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