East Asian Film Remakes / / ed. by Kenneth Chan, David Scott Diffrient.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Arts 2023
• MitwirkendeR: Amit, Rea,; Bettinson, Gary,; Chan, Kenneth,; Choe, Steve,; Choi, Jinhee,; Coates, Jennifer,; Diffrient, David Scott,
• HerausgeberIn: Chan, Kenneth,; Diffrient, David Scott,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2023]; ©2023
• Year of Publication: 2023
• Language: English
• Series: Screen Serialities : SCSE
• Physical Description: 1 online resource (344 p.) :; 28 B/W illustrations
• Other title: Frontmatter --; Contents --; Illustrations --; Foreword --; Notes on Contributors --; Introduction: East Asian Film Remakes --; Part I Re-fleshing the Text: Sex, Seduction, Desire --; Chapter 1 How to Sell a Remake: The Gate of Flesh Media Franchise --; Chapter 2 Against Anaesthesia: An Empty Dream, Pleasurable Pain and the ‘Illicit’ Thrills of South Korea’s Golden Age Remakes --; Chapter 3 Two Faces of Seduction: Martial Heroines and Karmic Women in Chor Yuen’s Intimate Confessions of a Chinese Courtesan and Lust for Love of a Chinese Courtesan --; Chapter 4 Japanese Self-Made Film Remakes as Self-Improvement: Professional Desires and DIY Fulfilment, from Panic High School to Tetsuo --; Part II Serialising Ozu: The Enduring Legacy of a Cinematic ‘Tofu Maker’ --; Chapter 5 Definition and Progression: Ozu Yasujirō’s ‘Noriko Trilogy’ --; Chapter 6 A Remake, But. . .: Media Infantility in Ozu’s Good Morning --; Chapter 7 The Cinema of Serial Vitality: Ozu Yasujirō and Yamada Yoji --; Part III Revisiting Personal/Political Traumas in East Asian Action Films, Gangster Films and Westerns --; Chapter 8 Opting Out of History: Miike Takashi’s New Graveyard of Honor --; Chapter 9 The Promise of Hokkaidō: Trauma, Violence and the Legacy of the Imperial Frontier in Lee Sang-Il’s Unforgiven --; Chapter 10 Benny Chan’s Connected and the Hollywoodisation of Hong Kong Cinema --; Chapter 11 Vessels and Cargos: Spaces of Inclusion and Exclusion in Johnnie To’s Drug War and Lee Hae-young’s Korean Remake Believer --; Part IV Local Flavours and Transcultural Flows in East Asian Comedies, Dramas and Fantasies --; Chapter 12 The Power of Healing in Little Forest(s): Cross-Cultural Perspectives on Food, Friendship and Self-identity, from Japan to Korea --; Chapter 13 More than Blue and Man in Love: Transnational Korean-Taiwanese Film Remakes as a Facilitator for Taiwan Cinema --; Chapter 14 The Pan-Asian ‘Miss Granny’ Phenomenon --; Chapter 15 Remaking in the Age of Chthulumedia: Stephen Chow’s The Mermaid --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781399508186; 9783111318103; 9783111319032; 9783111319292; 9783111318912; 9783110797640
• DOI: 10.1515/9781399508186
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Kenneth Chan, David Scott Diffrient.

Considers the remake from a variety of critical and theoretical perspectives and positions it alongside other serialized cultural formsExamines the historical significance of the remake in revitalizing local industries and breathing life into established film genres (e.g., action-adventure, crime drama, romantic comedy, the Western, etc.)Draws attention to previously overlooked motion pictures produced in East Asia and acknowledges the significant contributions of several prolific yet neglected filmmakersRe-evaluates canonical texts and offers fresh assessments of legendary auteurs such as Ozu Yasujiro, Yu Hyun-mok, Miike Takashi, Johnnie To, and Stephen ChowShowcases the role of remakes in forging cross-cultural alliances — both within and beyond the East Asian region — while pointing toward prospects of increased transnational coproductions in the coming yearsThis wide-ranging, historically grounded exploration of motion picture remakes produced in East Asia brings together original contributions from experts in Chinese, Hong Kong, Japanese, South Korean, and Taiwanese cinemas and puts forth new ways of thinking about the remaking process as both a critically underappreciated form of artistic expression and an economically motivated industrial practice. Exploring everything from ethnic Korean filmmaker Lee Sang-il’s Unforgiven (2013), a Japanese remake of Clint Eastwood’s Western of the same title, to Stephen Chow’s The Mermaid (2016), a Chinese slapstick reimagining of Walt Disney’s The Little Mermaid (1989) and Hans Christian Andersen’s 1837 fairy tale, East Asian Film Remakes contributes to a better understanding of cinematic remaking across the region and offers vital alternatives to the Eurocentric and Hollywood-focused approaches that have thus far dominated the field.