In this article, I analyze Park Chan-wook’s The Handmaiden (Ah-gassi, 2016) by addressing its puzzle narrative and complex interactive dynamics as embodied and affective categories. In particular, I employ Mikhail Bakhtin’s theory of the chronotope together with Giuliana Bruno’s work on media theory and Steffen Hven’s notion of the embodied fabula to show how the film, in all its aesthetic complexity, enacts a creative and transformative experience based on the continuous subversion of the power dynamics I describe. Furthermore, I demonstrate how this semantic and experiential reconstruction couples viewers’ alignment with the two main characters in their rebellion against patriarchal power and obsessive male fantasies. Ultimately, then, in this article I aim to connect the experiential and affective engagement of the film with a critical reading of power dynamics as ecologically situated structures to be challenged and revolutionized through a creative process of becoming.
Spinoza's Radical Enactivism and You Were Never Really Here
computational approach to film analysis, and puts forward an enactive narratology with the notion of the embodied fabula , which investigates film narratives as dynamic structures produced by the experiential logic of a particular storyworld ( Hven 2017, 15
Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi
scholar renounces the classical distinction between syuzhet (plot) and fabula (story). Instead, he presents the notion of embodied fabula, which describes narration and its comprehension by the viewer as an explorative operation—as the concrete