Pub Date : 2020-08-04DOI: 10.1080/25785273.2019.1682273
Christopher Jeansonne
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.
{"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}
Pub Date : 2020-07-11DOI: 10.1080/25785273.2020.1787674
G. Fidotta
{"title":"Neorealist film culture, 1945-1954: Rome, open cinema","authors":"G. Fidotta","doi":"10.1080/25785273.2020.1787674","DOIUrl":"https://doi.org/10.1080/25785273.2020.1787674","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73770058","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}
Pub Date : 2020-07-01DOI: 10.1080/25785273.2020.1787673
J. Hanley
ABSTRACT This article applies ideas from posthumanism and ecocriticism to a comparative study of Lisandro Alonso’s Jauja and Alejandro González Iñárritu’s The Revenant. This comparison serves to explore the narrative and aesthetic strategies by which human-scale events are decentred and colonial histories revised when the sense of place understood in terms going beyond and recreating the human, structures the cinematic object. These two films represent encounters between European and American peoples, but perhaps more significantly they represent them within more-than-human worlds that destabilise the narratives of control underpinning colonialist world-making practices. There is, however, a difference between the impenetrability and inhospitality of Jauja’s Patagonia and The Revenant’s wintry but fragile sublimity. This article discusses the implications of these differences in terms of cinematic possibilities for the reimagining of the concrete landscapes of colonial frontiers to link colonial histories to the extractivist present and the different futures – both catastrophic and creative – it presages.
{"title":"More-than-human worlds through the Neo-Western landscapes of Jauja and The Revenant","authors":"J. Hanley","doi":"10.1080/25785273.2020.1787673","DOIUrl":"https://doi.org/10.1080/25785273.2020.1787673","url":null,"abstract":"ABSTRACT This article applies ideas from posthumanism and ecocriticism to a comparative study of Lisandro Alonso’s Jauja and Alejandro González Iñárritu’s The Revenant. This comparison serves to explore the narrative and aesthetic strategies by which human-scale events are decentred and colonial histories revised when the sense of place understood in terms going beyond and recreating the human, structures the cinematic object. These two films represent encounters between European and American peoples, but perhaps more significantly they represent them within more-than-human worlds that destabilise the narratives of control underpinning colonialist world-making practices. There is, however, a difference between the impenetrability and inhospitality of Jauja’s Patagonia and The Revenant’s wintry but fragile sublimity. This article discusses the implications of these differences in terms of cinematic possibilities for the reimagining of the concrete landscapes of colonial frontiers to link colonial histories to the extractivist present and the different futures – both catastrophic and creative – it presages.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86508875","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}
Pub Date : 2020-06-22DOI: 10.1080/25785273.2020.1785147
Ecem Yıldırım
{"title":"Fatih Akın’s cinema and the new sound of Europe","authors":"Ecem Yıldırım","doi":"10.1080/25785273.2020.1785147","DOIUrl":"https://doi.org/10.1080/25785273.2020.1785147","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83204674","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}
Pub Date : 2020-06-22DOI: 10.1080/25785273.2020.1785148
Romana Turina
{"title":"Non-cinema: global digital film-making and the multitude","authors":"Romana Turina","doi":"10.1080/25785273.2020.1785148","DOIUrl":"https://doi.org/10.1080/25785273.2020.1785148","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88472445","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}
Pub Date : 2020-05-28DOI: 10.1080/25785273.2020.1756058
Laura Podalsky
ABSTRACT This essay traces the tri-continental flows of youth films and music between South America (Argentina), North America (Mexico and the United States) and Europe (Spain and Italy) in the mid-late 1960s. Focusing on co-productions starring youth idols Palito Ortega, Enrique Guzmán, and Rocío Dúrcal, the essay examines both the industrial imperatives behind those currents and the socio-cultural promise of the films’ representational conventions. The article recognizes the emergence of tighter synergies between culture industries around the world during this period (from film and music to television), and examines the films within larger horizons of reception. Ultimately, the article suggests that such youth films enacted a form of vernacular cosmopolitanism through the aegis of their young, middle-class protagonists who manage to navigate successfully between the ‘old world’ and the ‘new’ and between the traditional and the modern; and who provide a spatio-temporal bridge bringing audiences up-to-date and into the world beyond national borders.
{"title":"Cosmopolitanism, modernity and youth in the 1960s: the transnational wanderings of teen idols from Argentina, Mexico and Spain","authors":"Laura Podalsky","doi":"10.1080/25785273.2020.1756058","DOIUrl":"https://doi.org/10.1080/25785273.2020.1756058","url":null,"abstract":"ABSTRACT This essay traces the tri-continental flows of youth films and music between South America (Argentina), North America (Mexico and the United States) and Europe (Spain and Italy) in the mid-late 1960s. Focusing on co-productions starring youth idols Palito Ortega, Enrique Guzmán, and Rocío Dúrcal, the essay examines both the industrial imperatives behind those currents and the socio-cultural promise of the films’ representational conventions. The article recognizes the emergence of tighter synergies between culture industries around the world during this period (from film and music to television), and examines the films within larger horizons of reception. Ultimately, the article suggests that such youth films enacted a form of vernacular cosmopolitanism through the aegis of their young, middle-class protagonists who manage to navigate successfully between the ‘old world’ and the ‘new’ and between the traditional and the modern; and who provide a spatio-temporal bridge bringing audiences up-to-date and into the world beyond national borders.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89670076","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}
Pub Date : 2020-04-22DOI: 10.1080/25785273.2020.1754032
H. Ingle
ABSTRACT The article presents a critical mapping of invisible or subterranean transnationalism in the context of two geo-spatially distant cinemas. Interrogating the specific textual instances of the new Marathi film, I demonstrate that its narrative aesthetics has been significantly influenced by the New Iranian Cinema. The New Marathi film, which has emerged after Shwaas (2004), carries an unmistakable reworking of several Iranian films. Apart from certain productions that have children as their protagonists, several films like Valu (2009), Jhing Chik Jhing (2010), etc. derive their fundamental narrative premise from the minimalist plots of Iranian films like The Wind Will Carry Us, Children of Heaven, and The White Balloon. This, however, is circumscribed by the circulation of Iranian films through pirated DVDs, pirate networks, and peer-to-peer sharing. The article forwards two notions for invisible transnationalism: a) the valorization of Iranian films by Marathi filmmakers as an ideological remapping for narrative expressivity, and b) how this shapes the historical juncture defining the new-ness of the Marathi film.
{"title":"Invisible Transnationalism: Iranian New Wave and its Influences on the New Marathi Film","authors":"H. Ingle","doi":"10.1080/25785273.2020.1754032","DOIUrl":"https://doi.org/10.1080/25785273.2020.1754032","url":null,"abstract":"ABSTRACT The article presents a critical mapping of invisible or subterranean transnationalism in the context of two geo-spatially distant cinemas. Interrogating the specific textual instances of the new Marathi film, I demonstrate that its narrative aesthetics has been significantly influenced by the New Iranian Cinema. The New Marathi film, which has emerged after Shwaas (2004), carries an unmistakable reworking of several Iranian films. Apart from certain productions that have children as their protagonists, several films like Valu (2009), Jhing Chik Jhing (2010), etc. derive their fundamental narrative premise from the minimalist plots of Iranian films like The Wind Will Carry Us, Children of Heaven, and The White Balloon. This, however, is circumscribed by the circulation of Iranian films through pirated DVDs, pirate networks, and peer-to-peer sharing. The article forwards two notions for invisible transnationalism: a) the valorization of Iranian films by Marathi filmmakers as an ideological remapping for narrative expressivity, and b) how this shapes the historical juncture defining the new-ness of the Marathi film.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76655785","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}
Pub Date : 2020-04-02DOI: 10.1080/25785273.2019.1692604
Tiago de Luca
ABSTRACT This report describes the three-part film programme Envisioning the World: How Film Shapes the Earth which took place at Close-Up Film Centre in London, 8-22 June.
本报告描述了6月8日至22日在伦敦特写电影中心举行的“展望世界:电影如何塑造地球”三集电影节目。
{"title":"Envisioning the World: How Film Shapes the Earth, film programme, 8–22 june 2019, Close-Up Film Centre, London","authors":"Tiago de Luca","doi":"10.1080/25785273.2019.1692604","DOIUrl":"https://doi.org/10.1080/25785273.2019.1692604","url":null,"abstract":"ABSTRACT This report describes the three-part film programme Envisioning the World: How Film Shapes the Earth which took place at Close-Up Film Centre in London, 8-22 June.","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":"82352851","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}
Pub Date : 2020-04-02DOI: 10.1080/25785273.2019.1692603
S. Narayanswamy
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.
本文以超级英雄讽刺片为重点，探讨了摩莱坞电影如何调解马勒冈地区的创伤。莫莱坞起源于印度马哈拉施特拉邦的Malegaon镇，是一个高度本土化的电影产业，因其低成本的DIY美学而臭名昭著，其产品经常被贬低为具有“讽刺”的恶搞价值。我认为，像Malegaon ka Superman/Malegaon’s Superman(2009)这样的电影实际上是针对当地市场的成功改编，它们根据自己的文化背景重新构想了一个国际特许经营，从而增加了全球公认角色的跨国经典的“厚文本”。在1992年印度教徒-穆斯林骚乱之后，该地区继续经历政治冲突、宗教暴力和经济萧条的遗留问题。这篇文章概述了Malegaon ka Superman如何面对暴力和贫困的遗留问题，以及对社区的影响。我探索了这部电影是如何将大众对超人的喜爱和好莱坞的超人经典融入宝莱坞的叙事传统中，为摩莱坞市场创造出一个混合产品的。除了将全球特许经营改编为特殊文化背景所涉及的跨国过程，包括解决与“原始”文本的中断和脱节，本文还将揭示这种改编如何为当地观众提供协商创伤的手段。
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Pub Date : 2020-04-02DOI: 10.1080/25785273.2019.1665966
D. Schwartz
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.
{"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}
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