| Summary: | <p>Foreign film research presents a unique situation in which the researcher is placed in the role of a multimodal translator, finding themselves responsible for interpreting multifaceted mean-ings using their own semiotic repertoire (Kiaer and Kim, 2021a; 2021b). Some aspects of film-ic discourse are inevitably going to be untranslatable, resulting in the risk of inferences being naturalised and the analysis ultimately ineffective in its goals (Willemen, 2006., Higson, 2000). Although this is an issue that effects even closely situated languages and cultures (Venuti, 2009), it is severe between those with vast disparities, as between Korean and English (Kiaer, 2020; 2019; 2017). In foreign film studies, a lack of cultural and linguistic knowledge and the cross-cultural gap this presents is often identified as a short-coming (e.g., Matron, 2010., and Kaplan, 1993), and with much of textual film research being conducted in Europe, many textual frameworks are Eurocentric too (Kiaer, 2017., Bhabha, 1994). This means that not only are cross-cultural gaps not addressed by Western researchers, but that non-European films aren’t being analysed in the context of their own culture and language to begin with. The aim of this thesis is to develop a logical framework for the textual analysis of South Korean film (K-film), that provides a means for Anglophone (Western) researchers to interpret K- filmic discourse within its own cultural and linguistic context. This will be achieved by imple-menting and developing Kiaer and Kim’s (2021a) framework for identifying common forms of Korean socio-pragmatic expression, and their meaning potentials in K-films (a set of Korean ‘socio-pragmatic primitives’), which often create this cross-cultural gap (Kiaer, 2017; 2019; 2020), within the framework of multimodal film discourse analysis ‘Segmented Film Discourse Representation Structures’ (SFDRS) (Wildfeuer, 2014); a combination which is proposed as a potentially significant advance in the analysis of K-films (Kim and Kiaer, 2021).</p>
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