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E-book Remaking Gender and the Family : Perspectives on Contemporary Chinese-language Film Remakes

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Penilaian

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For as long as there has been cinema, there has been the remake; and for as long as there has been the remake, there has been a sense of critical unease about the value of making a film which has ‘already been made’. And yet, wave upon wave of remakes continue to wash over audiences worldwide. Arguably the most prolific global creator of these remakes, Hollywood, has audiences geared up for another round of re-imaginings, with 2016–2020 looking to feature, among others, new versions of Mary Poppins (1964), Jumanji (1995), The Magnificent Seven (1960), Ghost in the Shell (1995) and Death Note (2006) (All Upcoming Movie Remakes/ Reboots (2017–2022), 2017). No era, or genre, is immune from the remaking phenomenon.While the value of the remake is no longer debated in academic circles at least, with the remaking practices of Hollywood having been scrutinised in monographs and academic articles, there is one dimension of remaking which remains comparatively under-researched—the cross-cultural remake. Despite all of the complexities and nuances that might inhabit this form of remak-ing, the cross-cultural remake has so far been primarily investigated through the lens of Hollywood film. Early work on the subject by scholars including Durham (1998), Mazdon (2000) and Verevis (2006), focused on how American remakes of French films might reflect, in hindsight, quite static notions of cul-tural difference, articulating the dynamics of the cultural-political relation-ships between national cinemas, particularly Hollywood and ‘Other’ cinemas, within a set time-period and socio-cultural context of production, such as the 1980s. From this body of research emerged a complex set of factors involved in transferring a source film into its remake form.However, studies into Asian cinematic remakes are still a relatively new endeavor in remake studies. From Death Note (2006 and 2017) to other pair-ings such as Ringu (1998) and The Ring (2002), The Grudge (2003 and 2004) and Ghost in the Shell (1995 and 2017), it is clear that cross-cultural remaking is alive and well today. Despite this, there are very few full-length monographs that address the remake in Asian cinema—a situation which does not reflect the true power of the industries and audiences in these regions. This is particu-larly true in the case of China, which has seen a period of astounding growth in film production and viewership both domestically and abroad. Remake studies in the Chinese-language cinematic sphere have so far demonstrated the same tendency as early French studies, focusing on the relationship between Hollywood and ‘Other’ cinema—in this case, Hollywood remakes of Hong Kong and Chinese-language films (Chan, 2009; Li, 2011). As such, they have only considered in depth issues and themes of remaking in this direction, lending themselves to a focus on Hollywood’s tendency towards cultural (mis)appropriation. This focus does not engage with a Chinese-language cinema industry that now remakes films from other countries, as well as its own films.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

791.43 WOO r

Penerbit

USA : BRILL., 2018

Deskripsi Fisik

168 hlm

Bahasa

English

ISBN/ISSN

9789004363304

Klasifikasi

791.43

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Motion Pictures, Movies

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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