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

Research output: Contribution to journalArticle

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

In: Asian Cinema, Vol. 31, No. 2, 2020.

Research output: Contribution to journalArticle

Harvard

Choi, J 2020, '"Home is Where the Kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)"', Asian Cinema, vol. 31, no. 2. https://doi.org/https://doi. org/10.1386/ac_00020_1

APA

Choi, J. (Accepted/In press). "Home is Where the Kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)". Asian Cinema, 31(2). https://doi.org/https://doi. org/10.1386/ac_00020_1

Vancouver

Choi J. "Home is Where the Kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)". Asian Cinema. 2020;31(2). https://doi.org/https://doi. org/10.1386/ac_00020_1

Author

Choi, Jinhee. / "Home is Where the Kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)". In: Asian Cinema. 2020 ; Vol. 31, No. 2.

Bibtex Download

@article{3fd8a8c52af245168c0db4b0e59c7fd8,
title = "{"}Home is Where the Kitchen is: Rinco{\textquoteright}s Restaurant (2009) and Little Forest (2014, 2018){"}",
abstract = "The kitchen has become a prominent trope in East Asian cinema, the narratives of which revolve around the homecoming of female protagonists: Rinco{\textquoteright}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{\textquoteright}s loss of voice in Rinco{\textquoteright}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 {\textquoteleft}choric{\textquoteright} space for female protagonists where the relationship between mother and daughter is reconfigured in order to reinvent themselves. ",
keywords = "kitchen, homecoming, Rinco{\textquoteright}s Restaurant, Little Forest, transmedia adaptations, food and film, gender",
author = "Jinhee Choi",
year = "2020",
doi = "https://doi. org/10.1386/ac_00020_1",
language = "English",
volume = "31",
journal = "Asian Cinema",
issn = "1059-440X",
publisher = "Intellect Ltd.",
number = "2",

}

RIS (suitable for import to EndNote) Download

TY - JOUR

T1 - "Home is Where the Kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)"

AU - Choi, Jinhee

PY - 2020

Y1 - 2020

N2 - 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.

AB - 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.

KW - kitchen, homecoming, Rinco’s Restaurant, Little Forest, transmedia adaptations, food and film, gender

U2 - https://doi. org/10.1386/ac_00020_1

DO - https://doi. org/10.1386/ac_00020_1

M3 - Article

VL - 31

JO - Asian Cinema

JF - Asian Cinema

SN - 1059-440X

IS - 2

ER -

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