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31 Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
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The Gun, the Cellphone, and the Car The Gun, the Cellphone, and the Car
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The “Original Flavor” of Hong Kong Action Cinema Equals a Hollywood Concept Plus a Chinese Market The “Original Flavor” of Hong Kong Action Cinema Equals a Hollywood Concept Plus a Chinese Market
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The Thrilling, the Comic, and the Iconic The Thrilling, the Comic, and the Iconic
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Remaking “Chinese Cinema” into Cinema with “Chinese Elements” Remaking “Chinese Cinema” into Cinema with “Chinese Elements”
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Notes Notes
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Works Cited Works Cited
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32 Remade in China: Cinema with “Chinese Elements” in the Dapian Age
Get accessYiman Wang is Assistant Professor of Film & Digital Media at University of California Santa Cruz. Her book on cross-Pacific film remakes, Remaking Chinese Cinema: Through the Prism of Shanghai, Hong Kong and Hollywood, is forthcoming in March 2013. She has published in Quarterly Review of Film and Video, Film Quarterly, Camera Obscura, Journal of Film and Video, Literature/Film Quarterly, Positions: East Asia Cultures Critique, Journal of Chinese Cinemas, Chinese Films in Focus (Chris Berry ed. 2003, 2008), Idols of Modernity: Movie Stars of the 1920s (Patrice Petro ed. 2010), The New Chinese Documentary Film Movement: For the Public Record (Chris Berry, Lü Xinyu, and Lisa Rofel eds. 2010), Cinema at the City’s Edge: Film and Urban Networks in East Asia (Yomi Braester and James Tweedie eds. 2010), and Engendering Cinema: Chinese Women Filmmakers Inside and Outside China (Lingzhen Wang ed. 2011).
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Published:01 October 2013
Cite
Abstract
This chapter studies two contemporary Chinese-language remakes of American films—Zhang Yimou’s remake of the Coen brothers’ Blood Simple and Benny Chan’s remake of Cellular—in relation to the dapian (Chinese blockbuster) phenomenon. By analyzing the ways in which the remakes’ apparent “localization” speaks to the dapian logic, I argue that the remakes signal the emergence a cinema with “Chinese elements.” In this cinema, the very term Chinese no longer designates a geopolitical identity, but rather becomes an ungrounded iconic culture that is produced by transnational capital and market and in turn feeds back into Chinese filmmakers’ production of Chinese-language cinema.
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