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Transnational film practices: hollywood remakes of south korean films and preference on genre films.

Jung Lim Lee , Claremont Graduate University Follow

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Cultural Studies, PhD

School of Arts and Humanities

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David Luis-Brown

James Morrison

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© 2022 Jung Lim Lee

Chungmuro, film remake, han, male melodrama, transnationalism, wonhon

This dissertation explores Hollywood remakes of South Korean male melodramas and horror films to address transnational film practices within the context of the sudden acceptance of South Korean films in Hollywood. Such acceptance began with the 2006 remake, The Lake House . Despite the small number of South Korean films being remade in Hollywood, I argue that the South Korean film industry’s evolving position in relation to the U.S. film industry exemplifies the dual identity of the borrower and the importer. My analysis engages in case studies of six South Korean films remade by Hollywood to examine Hollywood’s strategic way of converting cultural products through transnational film practices. In theorizing the underrepresented cultural phenomenon of Hollywood remakes of South Korean films, this dissertation intersects various theoretical frameworks and research methodologies: textual analysis, transnational film theories, historicization of the South Korean film industry, and cultural studies approaches to cultural specificity. I further argue that these transnational remakes expose multifaceted relations between two film industries, as they depart from a common assumption about Hollywood as the ever-powerful exploiter and the South Korean film industry, also called Chungmuro, as the emulator of Hollywood. Rather than being one-directional, their relationship works on multiple levels (as they frequently interrupt and shift from their existing positions) in terms of transnational influences, cultural specificities, and political factors. By examining six original and remake films, this dissertation situates the South Korean film industry within transnational film practices. Chapters in this dissertation examine South Korean male melodramas and horror films and their remake versions in Hollywood through closely investigating Hollywood’s preference for a specific genre. This examination presents the multiplicity of transnational influences and interpretations in genre films by connecting two film industries and revealing cultural traffic in and out of the South Korean film industry. It thus suggests that South Korean originals are amalgamations of South Korean culture, particularly the concept of han (generally defined as deep sorrow or suffering), Hollywood genre conventions, unique storylines, and directors’ artistic creativity. Simultaneously, I argue that Hollywood’s desire to maintain its global status as the dominant industry results in its co-opting of South Korean originals while eliminating cultural elements and artistic imagination. Despite discrepancies and drastic modifications evident in the remakes of South Korean originals, this dissertation demonstrates the cultural influence of Chungmuro on Hollywood in broadening perspectives on particular genres, namely melodrama and horror, that can be combined with other genres without losing their essence. Therefore, genre blending as an ongoing practice in the South Korean film industry and as a key feature of the South Korean originals has been successfully transitioned into Hollywood in cases of transnational film remakes.

9798845417268

Recommended Citation

Lee, Jung Lim. (2022). Transnational Film Practices: Hollywood Remakes of South Korean Films and Preference on Genre Films . CGU Theses & Dissertations, 502. https://scholarship.claremont.edu/cgu_etd/502.

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Politics of transnational film remakes: Turkish and German national cinemas

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In This Article Expand or collapse the "in this article" section Transnational and Diasporic Cinema

Introduction.

• Individual Works Theorizing “Transnational Cinema” and Related Concepts
• Journals and Anthologies
• Transnational Film-Makers
• Transnational Film Stars
• Transnational Film Genres
• Historical Case Studies of Production and Distribution
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Transnational and Diasporic Cinema by Ramona Curry LAST REVIEWED: 28 April 2016 LAST MODIFIED: 28 April 2016 DOI: 10.1093/obo/9780199791286-0243

Although from the earliest years film production, marketing, and reception involved extensive national border crossing, the rubric “transnational cinema” has emerged only comparatively recently. Taken up from other disciplines such as anthropology and migration and postcolonial studies, the concept of “transnational” in this still-emerging area of cinema studies remains highly varied, pointing to sometimes contested working definitions and analytic approaches. Rather than attempting to delimit an evolving concept narrowly, this bibliography seeks to elucidate the present understandings and significance of transnational cinema through the selection and annotation of a wide range of compelling scholarship that together constitutes an exciting contemporary discourse. That discourse generally includes “diasporic cinema” as a subcategory distinguished from transnational cinema primarily through the specific historical circumstances of the film- and video-makers studied and their target audiences. Diasporic cinema usually refers to a set of films or other media works produced by (and often in the first instance for) members of demographic groups and often their descendants who have experienced collective, sometimes forced, migration from their lands of origin to survive in face of ethno-racial, political, or religious discrimination or displacement due to war or other economic necessity. Although diasporic film-making thus defined is neither as commonplace nor as long-standing a practice as transnational cinema more broadly, such incidents of cinema production and consumption also emerged early in cinema history, dating to the late 1910s. Wide-ranging research conducted particularly since the 1980s has yielded the fresh and field-shaping awareness of transnational and diasporic cinema’s deep roots, with many books and essays demonstrating nuanced connections between the practices. That circumstance warrants an integrated overview of transnational and diasporic cinema studies as a conjoined research field that has emerged in conjunction with broader intellectual shifts from unitary to more multivocal, de-centered perspectives as realized in, for example, cultural and critical race studies. Such trends underpin the current reframing of film historical and many contemporary studies away from the “national” to an at once localized and more globally based, boundary-crossing scale, with many scholars bringing interdisciplinary case study approaches to document and interpret understudied occurrences of transnational or diasporic cinema. A factor driving the growth of transnational and diasporic cinema studies is the visible proliferation of the phenomena. The sheer volume of media derived from “elsewhere” now accessible in at least electronic format to an alert observer at any given location (even, with some effort, in the United States) invites queries into the processes of contemporary media flow and exchange. To focus its very considerable scope, this article addresses primarily scholarship on narrative transnational and diasporic cinema, making quite limited reference to research on documentary or experimental work or digital media.

Discourses and Definitions

That the overlapping topics of transnational and diasporic cinema have generated an active film studies discourse is evident from the number of publications on the subject in circulation, many initially arising from myriad symposia, conference presentations, and scholarly interest groups. Many works’ titles deploy the word “transnational,” including many that then challenge its (oversimplified) use. An example is Ella Shohat and Robert Stam’s book Multiculturalism, Postcoloniality, and Transnational Media (New Brunswick, NJ: Rutgers University Press, 2003), discussed in Oxford Bibliographies article on Cinema and Media Studies Immigration and Cinema , which defends the term’s potential usefulness while pointing to its politically tainted “congruency with transnational corporations” (p. 9). Other publications argue a preference for terms such as “world” or “global” cinema, while yet addressing what is increasingly called “transnational” media phenomena from critical cultural and historical or interpretive perspectives. The conduct of compelling research in the emergent field presumes knowledge of cultural critiques of gendered and raced representation as well as media studies discourses about globalization. Without necessarily disagreeing with well-established critical analysis of the means and effects of US media dominance of world screens, scholars of transnational and diasporic cinema attend largely to the specificities of border-crossing practices that have enabled media flows running parallel or even counter to what, for example, Toby Miller, Nitin Govil, John McMurria, Richard Maxwell, and Ting Wang call “Global Hollywood” ( Global Hollywood 2 . London: BFI, 2005; see Blockbusters ). Studies of transnational and diasporic cinema have not, that is, taken predominantly political economy or other approaches to industrial and institutional dominance prevalent in communications studies but rather have focused largely on the valence and import of perspectives and terminology grounded in cultural and cinema studies. Besides with its self-definition, transnational cinema grapples as a field with the relevance—whether continuing or diminishing?—of “the national” as a productive approach, often counter-posed to the regional or the global. Publications cited in the subsections Individual Works Theorizing “Transnational Cinema” and Related Concepts and Journals and Anthologies engage that central question with reference both to the study and the on-going creation and circulation of cinema and other media. Individual Works Theorizing “Transnational Cinema” and Related Concepts thus offers background to a subject and field yet in formation. The references in this section and the rest of the article reveal the prevalence of work in essay format, including anthologies of original essays. No authoritative textbook on the topic has yet appeared: indeed, the singular textbook concept seems antithetical to the subject’s purposive dispersal of foci and diverging interdisciplinary methods.

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Representations of China in transnational documentary cinema

Ouyang, Jingmei (2022) Representations of China in transnational documentary cinema. PhD thesis, University of Glasgow.

This thesis examines the representations of China in transnational documentary cinemas, analysing the filmmaking techniques utilised in and the political-economic discourses of a corpus of relevant films. In this thesis, I draw on Bill Nichols’s conceptual work on documentary modes to develop my analysis on the diverse modes of Sino-foreign transnational documentary films. I also employ formalist film theory to develop the analysis on cinematography styles and editing techniques. Meanwhile, by use of the concept of frame theory, I categorise the modes of visual representation in relation to ‘Powerful China’, ‘Beautiful China’, ‘Superpower of China’, ‘Amazing China’ and ‘Marginal China’ for the establishment of the structure of the thesis and its participation in the aesthetic imagination, political strategies and cultural cooperation in cinematic discourses.

The first chapter, which serves as an introduction, introduces the research questions and the structure of the thesis, and also includes the literature review and methodology. The second chapter examines the mode of Chinese-British transnational documentary, both including co-operation mode and assistance-mode. It argues that the particular techniques, such as re-enactment, dramatic editing and immersive participation, are integrated into the quality of non-fiction in documentary films, establishing the representation of ‘Powerful China’ on cultural sense. The third chapter examines the mode of Chinese-American co-production documentary and argues its representation of ‘Beautiful China’ on the combination of the approach of ethnographic film and contemporary Chinese discourse of ‘Beautiful China’. The fourth chapter examines the mode of Chinese-Korean transnational documentary based on Korean Production and argues its representation of ‘Superpower of China’ is based the discourse of ‘China Threat Theory’. The fifth chapter makes a comparative analysis on Chinese state-documentary, taking the genre of ‘industrial documentary’ as an example, and independent documentary, both transnational and non-transnational. It argues that the state-documentary inherits the cinematographic style of ‘China films’ from Joris Ivens, shaping the representation of ‘Amazing China’. It also illustrates how the independent documentary relies on the construction of personal interactions between the filmmakers and subjects in shaping the representation of ‘Marginal China’ in its depictions of Chinese modernity.

Then the thesis argues that the different cinematic representations of China from these diverse modes of Sino-foreign transnational documentary cinemas illustrate the diversity of documentary filmmaking and which demonstrates the elasticity of China within cinematic space in recent years. That is, the concept of ‘China’ can be stretched to accommodate multiple - even conflicting - perspectives, which are shaped by the socio-economic factors at play and the dominant aesthetic traditions in the countries involved in producing the films.

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• Dissertation:  A Hidden Light: Judaism, Contemporary Israeli Film, and the Cinematic Experience
• ​Chair:   Lucy Fischer  (English)
• Readers:  Adam Lowenstein  (English),  Neepa Majumdar  (English), Adam Shear  (Religious Studies)
• Dissertation:  Global Russian Cinema in the Digital Age: The Films of Timur Bekmambetov
• ​Chair:   Nancy Condee  (Slavic)
• Readers:  Vladimir Padunov  (Slavic),  Randall Halle  (German),  Daniel Morgan  (Cinema and Media Studies, University of Chicago)
• Dissertation:  The Flying Fish: Sergei Eisenstein Abroad, 1929-1932
• ​Chair:   Vladimir Padunov  (Slavic)
• Readers:  Mark Lynn Anderson  (English),  William Chase  (History),  Nancy Condee  (Slavic),  Randall Halle  (German)

Anne Wesserling , Visiting Assistant Professor, University of North Georgia

• Dissertation: Screening Violence: Meditations on Perception in Recent Argentine Literature and Film of the Post-Dictatorship
• Chair: Daniel Balderston  (Hispanic Languages & Literature)
• Readers: John Beverley  (Hispanic Languages & Literature), Gonzalo Lamana  (Hispanic Languages & Literature), Adam Lowenstein  (English)
• Dissertation:  The British War Film, 1939-1980: Culture, History, and Genre
• Readers:  Adam Lowenstein  (English),  Colin MacCabe  (English),  David Pettersen  (French & Italian)
• Dissertation:  Unseen Femininity: Women in Japanese New Wave Cinema
• Readers:  Nancy Condee  (Slavic),  Marcia Landy  (English),  Neepa Majumdar  (English)
• Dissertation: Visualizing the Past: Perestroika Documentary Memory of Stalin-era
• Readers: Nancy Condee (Slavic), David J. Birnbaum  (Slavic), Jeremy Hicks  (Languages, Linguistics, Film)

Gavin M. Hicks

• Disseration: Soccer and Social Identity in Contemporary German Film and Media  
• Readers: John B. Lyon  (German), Sabine von Dirke (German), Clark Muenzer  (German), Gayle Rogers (English)
• Dissertation:  Film Dance, Female Stardom, and the Production of Gender in Popular Hindi Cinema
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English), Ranjani Mazumdar (Cinema Studies, Jawaharlal Nehru University)
• Dissertation:  Overlooking the Evidence: Gender, Genre and the Female Detective in Hollywood Film and Television
• Readers:  Mark Lynn Anderson  (English),  Adam Lowenstein  (English),  Brenton J. Malin  (Communications)

Christopher Nielsen , Educator, Institute for Health and Socioeconomic Policy/National Nurses United

• Dissertation: Narco Realism in Contemporary Mexican and Transnational Narrative, Film, and Online Media
• Chair: Juan Duchesen-Winter (Hispanic Languages & Literature)
• Readers: John Beverley (Hispanic Languages & Literature), Joshua Lund (Hispanic Languages & Literature), Giuseppina Mecchia  (French & Italian)
• Dissertation:  New Korean Cinema: Mourning to Regeneration
• Readers: Kyung Hyun Kim (East Asian Languages and Literatures, University of California, Irvine),  Adam Lowenstein  (English),  Colin MacCabe  (English)
• Dissertation:  “Insubordinate” Looking: Consumerism, Power, Identity, and the Art of Popular (Music) Dance Movies
• Readers:  Mark Lynn Anderson  (English),   Lucy Fischer  (English),  Randall Halle  (German)
• Dissertation:  Sustaining Feminist Film Cultures: An Institutional History of Women Make Movies
• Readers:   Mark Lynn Anderson  (English),  Neepa Majumdar  (English),  Randall Halle  (German Language),  David Pettersen  (French & Italian)

Yvonne Franke , Assistant Professor of German, Midwestern State University

• Dissertation:  The Genres of Europeanization - Moving Towards the "New Heimatfilm"
• Readers: Lucy Fischer (Film), John B. Lyon (German), Sabine von Dirke (German)

Olga Kilmova ,  Visiting Lecturer, University of Pittsburgh

• Dissertation: Soviet Youth Films under Brezhnev: Watching Between the Lines
• Chair: Nancy Condee (Slavic)
• Readers: Vladimir Padunov  (Slavic), David J. Birnbaum  (Slavic), Lucy Fischer  (Communication), Alexander V. Prokhorov (Slavic)
• Dissertation:  The Toy Like Nature: On the History and Theory of Animated Motion
• Chair: Daniel Morgan
• Readers:  Marcia Landy  (English), Mark Lynn Anderson  (English), Scott Bukatman (Film & Media Studies, Stanford University)
• Dissertation:  Cinematic Occupation: Intelligibility, Queerness, and Palestine
• Readers:  Mark Lynn Anderson  (English), Troy Boone  (English), Todd Reeser (French & Italian)

Yahya Laayouni , Assistant Professor of Arabic and French, Bloomsberg University of Pennsylvania

• Dissertation: Redefining Beur Cinema: Constituting Subjectivity through Film
• Co-Chairs: Giuseppina Mecchia  (French and Italian) & Randall Halle  (German)
• Readers: Todd Reeser (French and Italian), Mohammed Bamyeh  (Sociology & Religious Studies), Neil Doshi  (French & Italian)
• Dissertation:  Image to Infinity: Rethinking Description and Detail in the Cinema
• Chair:   Marcia Landy  (English)
• Readers: Troy Boone ,  Adam Lowenstein  (English),  Colin MacCabe  (English),  Randall Halle  (German)
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• Dissertation:  Screen Combat: Recreating World War II in American Film and Media
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English),  Randall Halle  (German)
• Dissertation:  Modern Kinesis: Motion Picture Technology, Embodiment, and Re-Playability in the Late Nineteenth and Early Twenty-First Centuries
• Readers:   Lucy Fischer  (English),  Adam Lowenstein  (English),  Giuseppina Mecchia  (French & Italian)
• Dissertation:  Research in the Form of a Spectacle: Godard and the Cinematic Essay
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English)
• Dissertation:  Immaterial Materiality: Collecting in Live-Action Film, Animation, and Digital Games
• Readers:  Marcia Landy  (English),  Adam Lowenstein  (English),  Randall Halle  (German)
• Dissertation:  Nation, Nostalgia, and Masculinity: Clinton/Spielberg/Hanks
• Readers:  Marcia Landy  (English),  Adam Lowenstein  (English),  Brent Malin  (Communications)
• Dissertation:  Body Image: Fashioning the Postwar American
• Readers:  Jane Feuer  (English), Marianne Novy (English), Carol Stabile (English, University of Oregon)

Natalia Maria Ramirez-Lopez , 

• Dissertation: MARGINALIDAD Y VIOLENCIA JUVENIL EN MEDELLÍN Y BOGOTÁ: NARRATIVAS LITERARIAS Y FÍMICAS DE LOS AÑOS 80 Y 90 EN COLOMBIA
• Chair: Hermann Herlinghaus  (Latin American Literature, University of Freiburg)
• Readers: Aníbal Perez-Linán (Political Science), Bobby J. Chamberlain  (Hispanic Languages & Literature), Gerald Martin (Hispanic Languages & Literature)

Dawn Seckler , Associate Director of Development, Bridgeway Capital

• Dissertation: Engendering Genre: The Contemporary Russian Buddy Film
• Readers: David MacFadyen (University of California, Los Angeles), Lucy Fischer  (Film), Nancy Condee (Slavic)
• Dissertation:  The Ethnic Turn: Studies in Political Cinema from Brazil and the United States, 1960-2002
• Readers:  Adam Lowenstein  (English), Shalini Puri,  Neepa Majumdar  (English),  John Beverley  (Hispanic)
• Dissertation:  Acting Social: The Cinema of Mike Nichols
• Readers:  Mark Anderson  (English),  Marcia Landy  (English),  Colin MacCabe  (English), David Shumway (English, Carnegie Mellon University)
• Dissertation:  Ruins and Riots: Transnational Currents in Mexican Cinema
• Readers:   Lucy Fischer  (English),  Adam Lowenstein  (English),  John Beverly  (Hispanic)
• Dissertation:  The Word Made Cinematic: The Representation of Jesus in Cinema
• Readers: Troy Boone ,  Adam Lowenstein  (English), Vernell Lillie (Africana Studies)
• Dissertation:  Fathers of a Still-Born Past: Hindu Empire, Globality, and the Rhetoric of the Trikaal
• Readers: Paul Bové  (English), Ronald Judy  (English),  Nancy Condee  (Slavic)
• Dissertation:  Excavating the Ghetto Action Cycle (1991-1996): A Case Study for a Cycle-Based Approach to Genre Theory
• Readers:  Jane Feuer  (English),  Neepa Majumdar  (English), Paula Massood (Cinema and Media Studies, Brooklyn College, CUNY)
• Dissertation:  "The World Goes One Way and We Go Another": Movement, Migration, and Myths of Irish Cinema
• Readers:  Adam Lowenstein  (English),  Colin MacCabe  (English),  Nancy Condee  (Slavic Languages and Literatures)
• Dissertation:  The Writing on the Screen: Images of Text in the German Cinema from 1920-1949
• Readers: Paul Bové  (English),  Lucy Fischer  (English), Linda Shulte-Sasse (German, McAllister College)
• Dissertation:  Mantras of the Metropole: Geo-Televisuality and Contemporary Indian Cinema
• Readers: Paul Bové  (English); Eric Clarke (English);  Colin MacCabe  (English); M. Prasad (Film Theory, Central Institute of English and Foreign Languages, Hyderabad)
• Dissertation:  Hollywood Youth Narratives and the Family Values Campaign 1980-1992
• Readers: Troy Boone  (English),  Marcia Landy  (English), Carol Stabile (Communications)
• Dissertation:  Reading Scars: Circumcision as Textual Trope
• Chair: Philip Smith  (English)
• Readers:   Lucy Fischer  (English), Mariolina Salvatori, Greg Goekjian (Portland State University)
• Dissertation:  Dreaming in Crisis: Angels and the Allegorical Imagination in Postwar America
• Chair:  Colin MacCabe  (English)
• Readers: Ronald Judy  (English), Jonathan Arac ,  Nancy Condee  (Slavic)
• Dissertation:  Laying Down the Rules: The American Sports Film Genre From 1872 to 1960
• Readers:  Jane Feuer  (English), Moya Luckett, Carol Stabile (Communications)

Elena Prokhorova

• Dissertation: Fragmented Mythologies: Soviet TV Series of the 1970s
• Readers: Carol Stabile (Communications), Jane Feuer (English and Film), Martin Votruba (Slavic), Nancy Condee (Slavic)
• Dissertation:  Nickels and Dimes: The Movies in a Rampantly American City, 1914-1923
• Readers: Moya Luckett,  Jane Feuer , Gregory Waller (University of Kentucky)
• Dissertation:  As Far As Anyone Knows: Fetishism and the Anti-Televisual Paradoxes of Film Noir
• Readers: Valerie Krips, James Knapp, Henry Krips (Communications)

Alexander Prokhorov , Associate Professor, College of William and Mary

• Dissertation: Inherited Discourse: Stalinist Tropes in Thaw Culture
• Chair: Helena Goscilo (Slavic)
• Readers: Lucy Fischer (Film), Mark Altshuller (Slavic), Nancy Condee (Slavic), Vladimir Padunov (Slavic)
• Dissertation:  “Dig If You Will The Picture”: The Cinematic, the Black Femme, and the Image of Common Sense
• Chair:   Marcia Landy  (English)
• Readers: Paul Bové  (English),  Colin MacCabe  (English), Amy Villarejo (Cornell), Wahneema Lubiano (Duke)
• Dissertation:   French Film Criticism, Authorship, and National Culture in the Mirror of John Cassavetes’s Body, His Life, His Work
• Readers:   Marcia Landy  (English), James Knapp
• Dissertation:  In The Shadow of His Language: Language and Feminine Subjectivity in the Cinema
• Chair:   Colin MacCabe  (English)
• Readers:   Lucy Fischer  (English), Lynn Emanuel, Patrizia Lombardo (French and Italian)
• Dissertation:  Being In Control: The Ending Of The Information Age
• Chair: Paul Bové  (English)
• Readers: Jonathan Arac ,  Marcia Landy , Carol Stabile (Communications)
• Dissertation:  The Emergence of Date Rape: Feminism, Theory, Institutional Discourse, and Popular Culture
• Readers: Nancy Glazener  (English),   Lucy Fischer  (English), Carol A. Stabile (Communications)
• Dissertation:  Gender and the Politics and Practices of Representation in Contemporary British Cinema
• Readers: James Knapp,  Marcia Landy  (English),  Colin MacCabe  (English), Sabine Hake (German)
• Dissertation:  Telling the Story of AIDS in Popular Culture
• Chair:   Jane Feuer  (English)
• Readers: Eric Clarke (English),  Marcia Landy  (English), Danae Clark (Communications)
• Dissertation:  Technology, the Natural and the Other: The Case of Childbirth Representations in Contemporary Popular Culture
• Readers:  Marcia Landy  (English), Dana Polan, Iris M. Young (Graduate School of Public and International Affairs, University of Pittsburgh)
• Dissertation:  Lesbian Rule:  Cultural Criticism and the Value of Desire
• Readers: Paul Bové  (English),  Colin MacCabe  (English), Gayatri Spivak (Columbia)
• Dissertation:  Feminism, Postmodernism, and Science Fiction: Gender and Ways of Thinking Otherwise
• Chair:  Philip Smith
• Readers:  Marica Landy  (English),  Lucy Fischer  (English), Dana Polan, Tamara Horowitz (Philosophy)
• Dissertation:  Camp and the Question of Value
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English), Eric Clarke (English), Janet Staiger (University of Texas–Austin)
• Dissertation:  Culture in a State of Crisis:  A Historical Construction in Cinematic Ideology in India, 1919-75
• Readers: Paul Bové  (English),  Colin MacCabe  (English), Keya Ganguly (Carnegie Mellon University)
• Dissertation:  The Ethics of Transgression: Criticism and Cultural Marginality
• Chair: Paul Bove  (English)
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English), Dana Pollan, Danae Clarke
• Dissertation:  Sally Bowles: Fascism, Female Spectacle, and the Politics of Looking
• Readers:  Marcia Landy  (English), Dana Polan, Sabine Hake (German)

St Andrews Research Repository

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Focusing on the transnational and the peripheral elements of film, we develop and expand the entire realm of film scholarship. Working on areas from Deleuze to Korean cinema, from digital cinema to Eastern Europe, from transnational auteurs to documentary and activist films, and many areas in between, we promise a vibrant and engaging research environment for students and scholars.

For more information please visit the Department of Film Studies home page.

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Film festivalisation : the rise of the film festival in the uk's postindustrial cities , making meaning of laurence olivier : reading queer sensibilities in his hollywood performances, 1939-1960 , watch and learn : film and the british educational life 1895-1910 , ecuadorian cinema for the 21st century : negotiating neoliberalism policy, industry, and memory during the ley de cine years , when the place speaks : an analysis of the use of venues and locations in the international film festival circuit .

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Dissertations / Theses on the topic 'Transnational Film'

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Yu, Chang-Min. "Corporeal modernism: transnational body cinema since 1968." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7051.

Richmond, Aimee. "Transnational UK reception of contemporary Japanese horror film." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/8006/.

Fedosik, Marina. "Representations of transnational adoption in contemporary American literature and film." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 226 p, 2009. http://proquest.umi.com/pqdweb?did=1818417541&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

Smith, Iain Robert. "The Hollywood meme : transnational appropriation of U.S. film and television." Thesis, University of Nottingham, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546464.

Oh, David C. "Ethnic identity and transnational media: The relationship between second-generation Korean American adolescent ethnic identity and transnational Korean film." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2007. http://wwwlib.umi.com/cr/syr/main.

Boscarino, Mary Anita. "Desiring Japan: Transnational Encounters and Critical Multiculturalism." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1313179889.

Pekerman, Serazer. "Framed intimacy : representation of woman in transnational cinemas." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3138.

Smart, Eric. "Transnational Perspectives on Ecocriticism: (Un)Natural Borders, National Privilege, and Environmental Racism." Ohio University Art and Sciences Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors1555939805670678.

Bachmann, Anne. "Locating Inter-Scandinavian Silent Film Culture : Connections, Contentions, Configurations." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-96162.

Lin, Yennan. "Transnational connections in Taiwan cinema of the 21st century." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14386.

Kuan, Wen-chun. "Island in motion : transnational articulations in new Taiwanese cinema and its film culture." Thesis, University of Essex, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654483.

McGuffie, Allison Doris. "African educational film and video: industry, ideology, and the regulation of Sub-Saharan sexuality." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1695.

Kim, Natalia N. "Transnational Women Protagonists in Contemporary Cinema: Migration, Servitude, Motherhood." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429100119.

Stankovic, Nevenka. "Transnational lines of circulation : new film movements in West Germany and Yugoslavia (1962-1982)." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/19585.

Shafiani, Shahriar. "Visibility, Allegiance, Dissent: Mandatory Hijab Laws and Contemporary Iranian Cinema." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1627930372378197.

Shafiani, Shahriar. "Visibility, Allegiance, Dissent: Mandatory Hijab Laws and Contemporary Iranian Cinema." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1627930372378197.

Steele, Jamie Nicholas. "The 'transnational regional' in Francophone Belgian cinema." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15434.

Cohen, Amber Shandling. "The Immigrant, the Native Son, and the Ambassador: The Transnational Travels of "Godzilla", "Speed Racer", and "Akira"." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539626616.

Lee, John Lance Rivero Potter Alicia. "Movies framing memories mass culture, film theory, and transnational identity in Alberto Fuguet's Las películas de mi vida /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,2150.

Steedman, Robin. "Nairobi-based female filmmakers and the 'Creative Hustle' : gender and film production between the local and the transnational." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/26663/.

Tofighian, Nadi. "Blurring the Colonial Binary : Turn-of-the-Century Transnational Entertainment in Southeast Asia." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94155.

Banerjea, Koushik. "Criminally hip : a critical exploration into issues of masculinity, violence and transnational modernity within the spaghetti western and gangster film genres." Thesis, London South Bank University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506698.

Range, Regina Christiane. "Positioning Gina Kaus: a transnational career from Vienna novelist and playwright to Hollywood scriptwriter." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3515.

Sherwood, Dana Whitney. "Integration by Popular Culture: Brigitte Bardot as a Transnational Icon and European Integration in the 1950s and 1960s." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20196.

Azanu, Benedine. "Transnational Media Articulations of Ghanaian Women: Mapping Shifting Returnee Identities in an Online Web Series." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490962935074027.

Joly, Julien. "Le cinéma de Patricio Guzmán. Histoire, mémoires, engagements : un itinéraire transnational." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA052/document.

Fedorova, Anastasia. "Japan's Quest for Cinematic Realism from the Perspective of Cultural Dialogue between Japan and Soviet Russia, 1925-1955." Kyoto University, 2014. http://hdl.handle.net/2433/188789.

藤木, 秀朗, and Hideaki Fujiki. ""The Attractive Empire: Transnational Film Culture in Imperial Japan." By Michael Baskett. Honolulu: University of Hawai'i Press, 2008. Pp. 216. ISBN 10: 0824831632; 13: 978-0824831639." Cambridge University Press, 2009. http://hdl.handle.net/2237/14327.

de, Taboada Amat y. León Javier. "Cineastas y Escritores Europeos en Latinoamérica: Un Estudio del Contexto de Producción." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10613.

Frampton, Anthony. "Cross-Border Film Production: The Neoliberal Recolonization of an Exotic Island by Hollywood Pirates." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1394999350.

Neely, Jacob S. "INTIMATE INDIGENEITIES: ASPIRATIONAL AFFECTIVE SOLIDARITY IN 21 ST CENTURY INDIGENOUS MEXICAN REPRESENTATION." UKnowledge, 2019. https://uknowledge.uky.edu/hisp_etds/42.

Perez, Sanchez Jose Maria. "Blancura Situacional e Imperio Español en su Historia, Cine y Literatura (s.XIX-XX)." UKnowledge, 2016. https://uknowledge.uky.edu/hisp_etds/26.

Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

Xu, Mengya. "Les stratégies d'expansion des firmes transnationales : le cas des entreprises françaises en Chine." Thesis, Paris Est, 2020. http://www.theses.fr/2020PESC0004.

Gardner, Andrew M. "City of Strangers: The Transnational Indian Community in Manama, Bahrain." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1283%5F1%5Fm.pdf&type=application/pdf.

Boucsein, René. "Elitenbildung im transnationalen Raum." St. Gallen, 2008. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/03605680004/$FILE/03605680004.pdf.

Bengtsson, Andreas. "Berättandets utformning i transnationell actionfilm : komparativ studie av en kinesisk och amerikansk storproduktion." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-67113.

Domberg, Verena [Verfasser]. "Das (franko-)algerische Kino : Eine filmgeschichtliche Studie aus transnationaler Perspektive / Verena Domberg." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1114639273/34.

Bengtsson, Andreas. "Kina, Hollywood och samproduktioner : en transnationell studie av produktionsförhållanden och mottagandet av filmen Man of Tai Chi." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40327.

Codó, Martínez Jordi. "El cinema com a espai intercultural. La influència asiàtica en el cinema d'Occident: contextos, conceptes i casos." Doctoral thesis, Universitat Ramon Llull, 2013. http://hdl.handle.net/10803/104535.

Chang, Ellen Y. "Cinematic Remapping of the Taiwanese Sense of Self: On the Transitions in Treatments of History and Memory from "The Taiwanese Experience" to "The Taipei Experience"." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1345130562.

Ricci, Daniela. "Cinémas transnationaux d'Afrique : identités, migrations et métissages culturels." Thesis, Lyon 3, 2013. http://www.theses.fr/2013LYO30061.

Zeiter, Martin. "Transnationale Unternehmen und Menschenrechte Unternehmerische Selbstbindung vs. rechtsstaatliche Fremdbindung? : Kritische Analyse und Lösungsansätze /." St. Gallen, 2008. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/02213270001/$FILE/02213270001.pdf.

Lin, Ying-Chia Hazel. "Culture, technology, market, and transnational circulation of cultural products : the glocalization of EA digital games in Taiwan /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/6204.

Kulbaga, Theresa A. "Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.

Rusnak, Stacy S. "Mexican Cinema in a Global Age: The Films of Guillermo Del Toro, Alfonso Cuarón, and Alejandro González Iñárritu." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/communication_diss/23.

Ilari, Simonetta. "Transnational investment in China: a long march towards integrated global production : a case study of amanufacturing firm in Guangdong Province." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235852.

Ilari, Simonetta. "Transnational investment in China : a long march towards integrated global production : a case study of a manufacturing firm in Guangdong Province /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18539798.

Damême, Aurélie. "British, actually : Working Title Films et la construction d'un cinéma britannique à vocation internationale." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30061.

Mazza, Leonardo. "Institutionalizing Sustainability The involvement of non-state actors in a multilevel governance structure managing a transnational common pool resource : The case of the Common Fisheries Policy of the European Union /." St. Gallen, 2006. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/05610993001/$FILE/05610993001.pdf.

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Tonguing Time: Transnational Feminism, Film & Festival (Dissertation)

What can recent films representing women’s experience in particular national and historical contexts contribute to our understanding of transnational feminist practice? While I am mainly concerned with use of varying temporal structures to represent differing and heterogeneous conceptions of female subjectivity by particular transnational women filmmakers, my question contextualizes these “traveling” films presented at international film festivals within a larger feminist concern of reconciling universal feminism with difference. In the films Water, Women Without Men and Where Do We Go Now? each filmmaker presents a multidimensional narrative of women’s experience in various national and historical contexts. Expanding on the idea that these women auteurs are working within and against certain epistemological and representative traditions and their awareness of various conceptions of space, and particularly time, inform their work, I draw on Bakhtin’s theory of the chronotope to analyze the narrative structures and various motifs in these films; in order to understand and hopefully help reformulate fundamental ideas about identity, society, feminism and culture, in today’s epoch of transnational media relations. It is within this larger context then, that this dissertation presents a multi-level chronotopic analysis of Indian-Canadian filmmaker Deepa Mehta’s Water (2005), exiled Iranian filmmaker Shirin Neshat’s Women Without Men (2009) and Lebanese filmmaker Nadine Labaki’s 2011 film Where Do We Go Now? with a particular emphasis on time. I argue that for transnational theorizing, temporality emerges as a central concern in understanding post-post modern identity politics and questions of female subjectivity. I identify the chronotope of threshold and chronotope of carnival and grotesque as shared in order to theorize a revolutionary feminist temporality. I provide a narrative film analysis which places Water in pre-colonial India’s and Hindu nationalism context; WWM is read in light of the Pahlavi regime’s coup and post-Revolutionary Iranian cinema; and, WDWGN is situated within Lebanese experience of civil war as applied to a critique of universal perpetuation of cyclical violence. Recurring motifs such as door, road, public square, water, death, veil and festival are placed within the filmmaker and their filming context in each case. Carnivalesque aesthetics, including grotesque and folk realism are applied to these filmmakers’ depiction of the widow’s ashram, village “harem” and magical orchard – as representing “women’s time.” Through identification of these shared motifs I argue that Mehta, Neshat and Labaki are not just telling narratives but because of their transnational positioning and awareness of their epistemological and discursive heritage they are engaged in a form of dialogue. Their fictional recreation of historically determined experiences of female subjecthood travel directly to the contemporary moment of feminism through film. Experience of these films at international film festivals creates a unique opportunity to theorize transnational feminist practice anew.

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Patricia White

Explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, the book argues that women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights.

Cultural Critique

Maggie Hennefeld

In an age of rising feminist activism and gendered media consumerism, how can we theorize the geopolitical aesthetics of women’s filmmaking? In "Women’s Cinema, World Cinema: Projecting Contemporary Feminisms," Patricia White gives us the critical tools to understand the global formations of our contemporary feminisms. Feature films by directors including Deepa Mehta, Claudia Llosa, Lucrecia Martel, Zero Chou, Nadine Labaki, Samira Makhmalbaf, Sabiha Sumar, Marjane Satrapi, Nia Dinata, Jeong Jaeeun, and others innovate new moving image paradigms for articulating the renewed centrality of women’s cinema as a concept.

Ella Shohat

Katarzyna Marciniak

miniature malekpour

Purpose: In this paper, the aim is to examine film form and narrative in relation to gender identity and the politics of representation. Drawing distinctions between these methods make it possible to identify how feminist frameworks are used to examine identity, aesthetics, and ideology through film culture. Approach/Methodology/Design: Thematic analysis, employing a feminist perspective. Three films were selected for conducting this type of analysis: Rakshane Bani-Etemad's 'Nargess', Manijeh Hekmat's 'Women's Prison' and Pouran Derakshande's 'Hush! Girls Don't Scream. Findings: By understanding the representation of women in Iranian Cinema and the cultural/traditional norms and values of the Iranian Society, I argue that the narrative form identifies feminist perspectives, which create an Iranian feminist cinema. Combining textual analysis with a greater concern for the audience-text relationship, and the rejection of the male gaze, these films recognize texts as shaped by the struggle to make meaning amongst institutions which shapes the filmic text from different components of the socio-historical context, and which creates a relationship between feminist film and cultural studies. Practical Implications: Iranian female directors have been adopting a feminist approach in their films' narrative structure dating back to the reformist period of the 90s. Through the social/political context of female characters and the counter-cinematic development of agents, circumstances, and surroundings of the systems of patriarchy and oppression, women directors have been applying feminist narrative form to their work as evident in Rakshane Bani-Etemad's 'Nargess,' Manijeh Hekmat's 'Women's Prison' and Pouran Derakshande's 'Hush! Girls Don't Scream. Originality/value: This paper analyzes the principles of female desire through these selected films, the patriarchal dominance of societal oppression, the female condition, and the examination of violence in the traditions and attitudes related to women while looking at the representation of this violence and oppression in the Iranian Society.

Ilaria Antonella De Pascalis , Marta Perrotta

EXTENDED DEADLINE: September 15 Confirmed keynote speakers: Kathleen McHugh (UCLA), Lingzhen Wang (Brown University) The interplay of global economic aspects, cultural and geopolitical positioning, and specific forms of aesthetic expression and imagination plays an increasingly important role in today’s audio-visual environment. The XXV International Conference of Film Studies, Contemporary Women’s Cinema and Media, aims to address the contemporary production of women’s cinema, with a spotlight on other audio-visual media such as television and the Internet.

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Globalization has increasingly permeated and affected every facet of our life — be it economic, political, or cultural. Specifically, the rise of this economic order continuously affects how we construct notions of our nation and identities, rendering them constantly in flux. Film, as a cultural production and as a means by which to imagine the nation, has not been spared by the effects of globalization. Discussions have been initiated on film’s relationship with globalization, national discourses, and national cinemas. Certainly, recent economic changes brought about by globalization affect how filmmakers create stories, how they produce them, and how audiences consume them. Rolando Tolentino introduces the term ‘transnationalism, ’ or the “cultural production involved in multinational capitalism ” in his dissertation on the body of work of Lino Brocka (1996). He used Brocka’s films to map out how the nation and its people were “(en)force[d] ” by the Marcos regime into today’s tran...

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2023-2024 Black Family Prize Recipients

Tuesday, May 7, 2024

Grad Film MFA Candidates Nada Bedair, Kwesi Jones, Xinying Lao and Gustavo René Sanabria have been selected as the recipients of the 2023-2024 Black Family Prize for Thesis Short Films. 

There were numerous strong applications this year, which were reviewed by full-time faculty and final decisions made by the Black Family Short Thesis Alumni Jury.

The Prize is an annual $10,000 award that is given to thesis students from the Graduate Film Program to support thesis projects that exemplify innovation in story, style and tone.

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Turbulence ahead.

Passengers aboard a British Airways flight on Tuesday were bombarded by a lewd scene as a man and woman engaged in a heavy petting session beneath “a scarf.”

“But it was quite obvious, as an adult, what they were doing,” 26-year-old passenger, Farrah, reported to South West News Service

A packed plane including children reportedly endured several minutes of the couple “constantly at it” during the early morning flight between London and Dublin, with one traveler catching their romp on camera.

“I was turning to look at my brother every time I was speaking, and then I saw a lot of sort of vigorous movement in the other seats on the other side,” said Farrah, whose mother was also in tow. “It was very blatant. She was constantly — for 15 to 20 minutes of the flight — just constantly at it with the guy.”

“When they got told to put their seat belts on, it was very obvious that he was zipping himself back up and putting everything back in,” she told South West News Service. “It was just disgusting to be honest.”

Farrah also described kids “running up and down the aisles” during the roughly one-hour flight.

“They just carried on, which was shocking because there were children on the plane,” she continued. “A couple of them looked like five or six, and then maybe there were a couple that looked like they were eight or nine.”

The aircraft, a cramped Airbus A320, was too small to escape the raucous.

“We had about 38 minutes of the flight time left when I noticed it. It was quite embarrassing for me to be sat with my brother and having to witness that,” she said. “It was one of the smaller planes, making it a lot closer than the bigger planes.”

A spokesperson from British Airways told SWNS in a statement, “Our cabin crew colleagues were not alerted to any issue on board. Had they been informed, they would have taken the appropriate steps to address it.”

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