With case studies from the film industries of Turkey, India and the Philippines, The Hollywood Meme is the first comprehensive study of the transnational adaptations of Hollywood movies that have ...appeared throughout world cinema.
Offering a variety of case studies in which films have been remade across national borders,Transnational Film Remakesprovides an analysis of cinematic remaking that moves beyond Hollywood to address ...the truly global nature of this phenomenon. From Hong Kong remakes of Japanese cinema to Bollywood remakes of Australian television, this book interrogates the fluid and dynamic ways in which texts are adapted and reworked across national borders to provide a distinctive new model for understanding these global cultural borrowings.
While the canon of so-bad-it's-good cinema has predominantly centred upon American films, it is notable that a significant number of recent entries - including Miami Connection, Troll 2, Samurai Cop, ...The Room and Birdemic: Shock and Terror - were directed by non-American filmmakers working in America. Building on Hamid Naficy's use of the concept 'accented cinema' to describe exilic and diasporic filmmakers working in the West, this article explores the cultural politics of accented cult cinema and investigates to what extent the celebration of these low-budget exploitation films as so-bad-it's-good relies upon a (largely disguised) perception of foreignness.
20Media Smith, Iain Robert
The year's work in critical and cultural theory,
11/2018, Letnik:
26, Številka:
1
Journal Article
Recenzirano
Abstract
This chapter reviews eight publications in film and media studies from 2017, focusing in particular on texts that address genre and its relationship with the global. Examining both ...monographs and edited collections, the review describes how media scholars have been interrogating the cultural politics underpinning the global circulation and adaptation of media texts within a range of specific cultural contexts. From studies of particular iterations such as Indian horror cinema or Mexican exploitation cinema through to broader discussions of cosmopolitanism and transnational exchange, the chapter explores the myriad ways in which these publications open up questions around the politics of media scholarship and the potential for intercultural dialogue.
This article examines what the process of founding and chairing the SCMS (Society for Cinema and Media Studies) 'Transnational Cinemas' scholarly interest group revealed to the authors about the ...evolution of the field. Charting a progression in the group's activities from workshops around disciplinary definition to more practical sessions addressing teaching and research methodologies, the article maps out key shifts that took place within the period 2013-2017. It also appraises the authors' efforts to create lasting, tangible resources for future researchers and teachers. The limitations of such a group's influence are balanced against its capacity to bring scholars from diverse disciplines into dialogue with each other, thereby offering insight into the breadth and depth of the 'transnational cinemas' field.
In 1974, producer Hulki Saner hired acclaimed director Metin Erksan to direct an unofficial remake of William Friedkin's The Exorcist (1973). The resultant film, Seytan, took the plot, characters and ...set-pieces from the prior film and translated them into a predominantly Islamic setting. This process of intercultural dialogue exemplifies Yesilcam, a cycle of low-budget cinema from Turkey that flourished throughout the 1960s and 1970s in which elements of Western popular culture were being borrowed and remoulded into the Turkish context. Drawing on Tom O'Regan's model of cultural exchange and transmission, this article seeks to build a model of intercultural dialogue attendant to the underlying tensions and negotiations within this hybridised cultural text, an issue of particular contemporary resonance at a time when the EU is proposing 2008 as the 'Year of Intercultural Dialogue' and Turkey is itself in talks over its accession to the EU. Building upon that oft used model of Istanbul as a 'cultural bridge' between East and West, this article shall examine how Turkish cinema of the 1970s drew upon and appropriated elements from US popular culture. While Seytan has been dismissed by some cultural commentators as derivative plagiarism, this article argues for a more nuanced model of cross-cultural exchange based around dialogue and interaction, attendant to the interstitial relationships through which cultures meet and interact. Adapted from the source document.
Rather than the manufactured clash of civilisations, we need to concentrate on the slow working together of cultures that overlap, borrow from each other and live together in far more interesting ...ways than any abridged or inauthentic mode of understanding can allow. (Said 2003: xxii).
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