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From Gaze to Imagination: A Study of the Novel-to-Film Adaptation of Pavane for a Dead Princess- Focusing on the Comparison between Park Min-gyu (2009) and Lee Jong-pil (2026)

  • Journal of Popular Narrative
  • 2026, 32(3), pp.423~459
  • DOI : 10.18856/jpn.2026.32.3.012
  • Publisher : The Association of Popular Narrative
  • Research Area : Interdisciplinary Studies > Interdisciplinary Research
  • Received : August 29, 2026
  • Accepted : October 18, 2026
  • Published : October 31, 2026

Chahwa Lee 1

1중앙대학교

Accredited

ABSTRACT

This study examines what is retained and what is transformed when Park Min-gyu’s novel Pavane for a Dead Princess (2009) is adapted into Lee Jong-pil’s film Pavane (2026), and how these transformations change the ways in which the recovery of a damaged other is imagined. The novel never describes the face of its heroine, who is called “ugly,” thereby resisting the violence of the gaze through “not-seeing”. The film, which must show an actor’s face, cannot carry this strategy over as it is. This study begins from this difficulty of adaptation. First, whereas the novel defers meaning through the distance of recollection, the film shifts the story into the present and visualizes the hierarchies of class and appearance through the vertical spatial order of a department store. Second, whereas the novel binds the three characters into a single narrative source, Yohan’s manuscript revealed only at the end, the film presents Yohan as a recorder from the outset, distributes the narration among the three characters, and shifts the center of gravity of the mystery from identity to event. Third, whereas the novel leaves blank the face judged “ugly,” the film exposes the arbitrariness of that judgment through the structure of naming, bodily proximity, and the use of light, and moves Mijeong into the position of a speaking subject. Taken together, the novel completes the relationship after loss in fiction through creative imagination, while the film makes the absent other present in communal memory through an imagination of remembering and bearing witness. This study is the first to examine the film Pavane in relation to its source novel. By showing how Linda Hutcheon’s notion of adaptation as “repetition without replication” is realized through the novel’s distinctive narrative devices, it reads the difference between the two works not as a general difference between media but as the specific choices of an adaptation and their ethical implications.

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