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论文作者:www.51lunwen.org论文属性:本科毕业论文 Thesis登出时间:2014-08-17编辑:felicia点击率:26417
论文字数:11628论文编号:org201408152155455835语种:英语 English地区:中国价格:免费论文
关键词:好莱坞电影日本恐怖电影影视专业dissertationHollywood horror genrenew audienceAmerican counterpart
摘要:本文是一篇美国留学生影视专业本科毕业论文dissertation。自21世纪以来,好莱电影世界得到了迅速的发展,日本恐怖电影为了迎合观众的口味,被重新购买重新制作,消除了传统的基本历史的局限性,推动了西方世界对电影的认识和理解,满足了西方观众的心理需求,消除了“美国化”的恐惧和恐怖心理。本文简要分析了美国恐怖电影的重塑和发展。
His second category, the disguised remake is a film which is either updated with little change, or completely retitled and then disguised, with the help of a new setting and original characters. (Verevis: 2006: 7). In either case though, the disguised remake doesn’t wish to draw attention to the fact that it’s not an original piece, instead just promoting itself as a normal film. Finally Druxman says there are non-remakes, films retaining the title of a well known story (Druxman: 1975: 15), as well as possibly referring to the name of a well known author, strictly for commercial purposes. Basically all the remake and the original share in common is the title, but the content is extremely different in each case (Verevis: 2006: 7).
A perfect example of Druxman’s non-remake would be The Ring Two (2005) as the film shares the same name as its original (in its American release title at least), but that it pretty much where the similarities end. It is interesting to point out that the film is remade by Hideo Nakata, the director behind the original, clearly placing this remake within Robert Stams category of autocitation, in which a film maker remakes his/her own film (Verevis: 2006: 21). A further relevant example of this is Takashi Shimizu’s American film The Grudge a remake of his earlier Japanese language Ju-on: The Grudge (2003).
In Harvey Roy Greenberg’s article “Raiders of the Lost Text: Remaking as Contested Homage in Always”he expands upon Druxman’s “commercially grounded” (Verevis: 2006: 8) groups and comes up with three categories which instead focus on the directors reasons for remaking a film. His categories center around the example of the romantic war fantasy A Guy Named Joe (1943) and its Steven Spielberg remake, Always (1989). Using this as an example of what Verevis translates as a “acknowledged, transformed remake” (2006: 9), with the film having huge changes made to the characters, location and general story telling.
But still making sure to acknowledge the original, like in the case of Always a small mention is given in the credits. Much like Druxman he also names two other categories in which he feels remakes fall under. The acknowledged, close remake much like Druxman’s direct (1975:15) category, is when a remake completely replicates the original, with little to no change made to its narrative structure (Verevis: 2006: 9), and the unacknowledged, disguised remake is when both minor and major changes are made to the time, settings and characters. But the original version is not referred to and the audience are not informed of there even being one (Verevis: 2006: 9), similar to Druxman’s category of disguised remake.
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