A Different Fate of Two Dubbed Versions of a Film

The Case of Five Fingers of Death and Iron Man

Abstract

This article explores how translation recontextualizes films for different national audiences, focusing on the contrasting fates of Five Fingers of Death and its Korean-dubbed version of Iron Man. By conducting a historical analysis of both the English and Korean dubbed versions, the study shows how the transnational journey of the film has influenced the development of these two versions. The analysis presents the marginalization of director Chung Chang-Wha’s contributions to the global success of Five Fingers of Death. Iron Man represents a case of "fake” Korean and Hong Kong co-productions, and this fabrication has impacted multiple dimensions of the film. Additionally, Iron Man, though overlooked in Korean cinema history, holds value as a reflection of how films were adapted for local audiences. Lastly, the article conducts a comparative analysis to uncover the ways in which the Korean adaptation has been recontextualized, particularly in terms of its dialogue, paratextual elements, and editorial changes.

Lay summary

This article investigates how translation transforms a film to appeal to different cultural and national audiences. The study examines the story of Five Fingers of Death, a well-known kung fu film, and its Korean-dubbed version, Iron Man. The research explores how the film’s journey across cultures has influenced the distinct paths of these two versions and molded them in unique ways. One key point of the study is how director Chung Chang-Wha, despite his significant impact on kung fu films, has often been overlooked in the history of Hong Kong cinema. On the other hand, the Korean version represents a “fake” collaboration between Korea and Hong Kong, where it was marketed as a co-production to meet local needs. This deception affected various aspects of the film, such as its title, and made the Korean-dubbed film different from the original version. Although Iron Man has largely been ignored in Korean film history, the study shows its value as an example of how films are adapted to reflect local cultures. Ultimately, the article compares both versions to show how translation changed not only the language but also the film’s story and its cultural messages. Through the analysis of dialogue and additional elements, the Korean adaptation reflects unique local sentiments and emphasizes the broader impact of translation on the fate of films.