Transnational Screens最新文献_第10页

Globalizing ‘a rage that never dies’ (but can’t stay the same): shifting dynamics of identification in the transnational remaking of Ju-On into The Grudge 全球化的“永不消逝的愤怒”(但不能保持不变):在跨国翻拍《朱昂》到《怨恨》的过程中，身份认同的动态变化

IF 0.2

Transnational Screens Pub Date : 2020-08-04 DOI: 10.1080/25785273.2019.1682273

Christopher Jeansonne

{"title":"Globalizing ‘a rage that never dies’ (but can’t stay the same): shifting dynamics of identification in the transnational remaking of Ju-On into The Grudge","authors":"Christopher Jeansonne","doi":"10.1080/25785273.2019.1682273","DOIUrl":"https://doi.org/10.1080/25785273.2019.1682273","url":null,"abstract":"ABSTRACT The Grudge was unique among transnational Japanese horror remakes due to several factors: Ju-On’s director Shimizu Takashi was retained for the Hollywood-financed version, as was its Japanese setting, even as the narrative’s protagonists were replaced with an American cast and the film’s plotlines restructured to accommodate this change. Using Iwabuchi Koichi’s notion of ‘cultural odor’ as a theoretical framework, and informed by scholarship on other J-Horror films and their transnational remakes, the explicit intentions of Ju-On/The Grudge’s producers and creators are contrasted with evidence from the texts themselves, and contextualized through an examination of critical and popular reception of the films as cross-cultural products. This investigation reveals fundamental shifts in dynamics of identification: In Ju-On the horror threat resonates with culturally proximate concerns, and the climactic sequence functions to create a circle of identification between the monster, the protagonist, and the viewer. Conversely, in The Grudge, the monster’s nature as culturally abject in relation to the central protagonist forecloses the potential for such identification, and foreignness itself becomes central to the horror affect.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85673939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Neorealist film culture, 1945-1954: Rome, open cinema 新现实主义电影文化，1945-1954:罗马，开放电影院

IF 0.2

Transnational Screens Pub Date : 2020-07-11 DOI: 10.1080/25785273.2020.1787674

G. Fidotta

引用次数: 0

More-than-human worlds through the Neo-Western landscapes of Jauja and The Revenant 超越人类的世界通过新西方景观的Jauja和荒野猎人

IF 0.2

Transnational Screens Pub Date : 2020-07-01 DOI: 10.1080/25785273.2020.1787673

J. Hanley

引用次数: 0

Fatih Akın’s cinema and the new sound of Europe 法提赫Akın的电影和欧洲的新声音

IF 0.2

Transnational Screens Pub Date : 2020-06-22 DOI: 10.1080/25785273.2020.1785147

Ecem Yıldırım

引用次数: 1

Non-cinema: global digital film-making and the multitude 非电影:全球数字电影制作和大众

IF 0.2

Transnational Screens Pub Date : 2020-06-22 DOI: 10.1080/25785273.2020.1785148

Romana Turina

引用次数: 0

Cosmopolitanism, modernity and youth in the 1960s: the transnational wanderings of teen idols from Argentina, Mexico and Spain 20世纪60年代的世界主义、现代性和青年:来自阿根廷、墨西哥和西班牙的青少年偶像的跨国流浪

IF 0.2

Transnational Screens Pub Date : 2020-05-28 DOI: 10.1080/25785273.2020.1756058

Laura Podalsky

引用次数: 2

Invisible Transnationalism: Iranian New Wave and its Influences on the New Marathi Film 看不见的跨国主义:伊朗新浪潮及其对马拉地新电影的影响

IF 0.2

Transnational Screens Pub Date : 2020-04-22 DOI: 10.1080/25785273.2020.1754032

H. Ingle

引用次数: 1

Envisioning the World: How Film Shapes the Earth, film programme, 8–22 june 2019, Close-Up Film Centre, London 展望世界:电影如何塑造地球，电影节目，2019年6月8日至22日，伦敦特写电影中心

IF 0.2

Transnational Screens Pub Date : 2020-04-02 DOI: 10.1080/25785273.2019.1692604

Tiago de Luca

引用次数: 0

India’s superhero recreations: inhabiting the Elseworld of Malegaon’s Superman 印度的超级英雄娱乐活动:居住在马勒冈的超人的另一个世界

IF 0.2

Transnational Screens Pub Date : 2020-04-02 DOI: 10.1080/25785273.2019.1692603

S. Narayanswamy

{"title":"India’s superhero recreations: inhabiting the Elseworld of Malegaon’s Superman","authors":"S. Narayanswamy","doi":"10.1080/25785273.2019.1692603","DOIUrl":"https://doi.org/10.1080/25785273.2019.1692603","url":null,"abstract":"ABSTRACT This essay explores how Mollywood cinema mediates trauma in the Malegaon region, with a focus on the superhero spoof genre. Mollywood, native to the town of Malegaon in Maharashtra, India is a highly localised film industry infamous for its low budget DIY aesthetic, with its products often being reduced to their ‘ironic’ spoof value. I argue that films like Malegaon ka Superman/Malegaon’s Superman (2009) are in fact successful adaptations for a local market, which reimagine an international franchise for their cultural contexts, thereby adding to the ‘thick text’ of the transnational canon of globally recognised characters. Following the Hindu-Muslim riots of 1992, the region continues to experience the ongoing legacy of political conflict, religious violence and economic depression. This essay outlines how Malegaon ka Superman confronts this legacy of violence and poverty, and the impact on the community. I explore how the film weaves the popular lore of Superman and the canon of Superman from Hollywood into the Bollywood narrative tradition, to create a hybridised product for the Mollywood market. Alongside the transnational processes involved in adapting a global franchise for a specialised cultural context, including an address to the disruptions and disconnections from the ‘original’ text, this paper will also reveal how such adaptations offer a means of negotiating trauma for local audiences.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88208576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

‘We control the engine, we control the world’: the geopolitics of gender, nation, and labour in hard-to-place transnational films “我们控制了引擎，我们就控制了世界”:跨国电影中关于性别、国家和劳工的地缘政治

IF 0.2

Transnational Screens Pub Date : 2020-04-02 DOI: 10.1080/25785273.2019.1665966

D. Schwartz

{"title":"‘We control the engine, we control the world’: the geopolitics of gender, nation, and labour in hard-to-place transnational films","authors":"D. Schwartz","doi":"10.1080/25785273.2019.1665966","DOIUrl":"https://doi.org/10.1080/25785273.2019.1665966","url":null,"abstract":"ABSTRACT Western academe conceptualizes neoliberalism as a political theory of capitalism’s expansion into all facets of being, homogenizing neoliberalism’s disparate geopolitical operations on gendered subjects. Transnational film studies attempts an intervention, reclaiming questions of production and authorship alongside consumption and desire, accounting for globalization’s shifting landscape. Some scholars call for critical understandings of ‘transnational’, highlightingpower imbalances in transnational exchanges at sites of production, distribution, and exhibition. Neoliberalism efface gendered, racialized, and nationalized power relations at the site of labour, while arguments in transnational film studies efface geopolitical unevenness in transnational filmmaking and theoretical conceptualizations of the transnational. The industrial circumstances of Slumdog Millionaire and Snowpiercer are ripe for illuminating neoliberalism’s uneven gendered effects on divided subjects and nations. Hard to place within clear national borders textually and industrially, these films share precarious positions on global markets geopolitically. A methodology highlighting geopolitical unevenness across industries relationally is necessary for closely attending to sites of reception and stardom beyond the box office, including sites of production, distribution, and text. Examining spatiotemporal formations in these films and their paratexts troubles neoliberalism’s emphasis on spatial division. Reading these films from multiple sites proves useful for tracing geopolitical entanglements and particularities of neoliberalism’s divergent processes and effects.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84407242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0