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Journal articles on the topic 'Film remakes'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Mancini, Marc. "FRENCH FILM REMAKES." Contemporary French Civilization 13, no. 1 (1989): 32–46. http://dx.doi.org/10.3828/cfc.1989.13.1.003.

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2

Martin, Adrian. "Film Remakes (review)." Velvet Light Trap 61, no. 1 (2008): 60–62. http://dx.doi.org/10.1353/vlt.2008.0008.

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3

Verevis, Constantine. "Remaking Film." Film Studies 4, no. 1 (2004): 87–103. http://dx.doi.org/10.7227/fs.4.6.

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What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and

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Labayen, Miguel Fernández, and Ana Martín Morán. "Manufacturing proximity through film remakes: Remake rights representatives and the case of local-language comedy remakes." Communications 44, no. 3 (2019): 282–303. http://dx.doi.org/10.1515/commun-2019-2058.

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AbstractThis article analyzes the industrial and cultural dynamics of transnational film remakes, focusing on the recent rise of remake rights representatives and the production of comedy remakes for local-language markets. Through the use of in-depth interviews with remake rights representatives and the analysis of primary and secondary sources, we scrutinize the strategies of these players in mediating the production processes of remaking foreign popular films into local-language hits. The article takes on two tasks: First, it dissects the work of the different agents at play in buying and s

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5

Cuelenaere, Eduard. "Towards an Integrative Methodological Approach of Film Remake Studies." Adaptation 13, no. 2 (2020): 210–23. http://dx.doi.org/10.1093/adaptation/apz033.

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Abstract This article argues that, after decades of pointing towards the importance of including production and reception research into the study of film remakes, we should actually start addressing production and reception methodologies and investigate why this is necessary for the sustainability and future development of the field. I argue that a lot can be learned from the insights coming from the existing methodologies that are being used in, that is, format studies, (critical) media industry studies, (audiovisual) translation studies, and more recently the study of cultural transduction.

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Stelmach, Miłosz, Agata Hołobut, and Jan Rybicki. "Quantifying the remake: A historical survey." Journal of Adaptation in Film & Performance 15, no. 3 (2022): 211–26. http://dx.doi.org/10.1386/jafp_00079_1.

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American film remakes have enjoyed growing academic attention over the past 50 years. Together with prequels, sequels, reboots and spin-offs, they have been often viewed as exponents of contemporary recycling culture, symptomatic of Hollywood’s recent creative exhaustion and commercial risk aversion. In our article, we adopt a diachronic quantitative perspective to analyse and interpret the available metadata on 986 Hollywood remakes produced between 1915 and 2020. Our quantitative research shows the number of American remakes produced every year, their ratio in the total number of feature fil

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Rasmus, Agnieszka. "Hollywood remakes of British films: A case of cross-pollination." Journal of Adaptation in Film & Performance 14, no. 1 (2021): 53–63. http://dx.doi.org/10.1386/jafp_00042_1.

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This article is an attempt at analysing Hollywood remakes and their British originals in terms of constructing and articulating their shared identity and their difference. Although the source films are considered British, they are often UK/US co-productions, made at the time of Hollywood’s active involvement in the domestic film scene during the so-called ‘Hollywood England’. This complicates neat labels not only in terms of nationality and geography but also original versus copy and points to the existence of transnational and transcultural flows already in evidence in the original works. The

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Fithratullah, Muhammad, Elisabeth Ngestirosa Endang Woro Kasih, Janata Shoji Al Falaq, and Muhammad Fadel. "OVERLOOKING THE TRANSFORMATION OF VALUES THROUGH THE TRANSNATIONAL AMERICAN REMAKES MOVIES." Lire Journal (Journal of Linguistics and Literature) 8, no. 2 (2024): 351–68. http://dx.doi.org/10.33019/lire.v812.309.

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This study explores the transformation of values in transnational remake movies, focusing on their popularity and the incorporation of new elements to suit target audience preferences. An analysis of The Lake House, a remake of the Korean film Il Mare, reveals shifts in values and the integration of American cultural aspects. These changes stem from audience demands, business considerations, and Hollywood's global influence. Remakes require more than simply reproducing original content; they involve capturing cultural nuances from both versions. Utilizing Hall's representation approach and qua

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Boczkowska, Kornelia. "Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie." Journal of Adaptation in Film & Performance 14, no. 2 (2021): 145–61. http://dx.doi.org/10.1386/jafp_00050_1.

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Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent

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Mc Glynn, James Denis. "The “Cinematic Promise” of Video Game Music." Journal of Sound and Music in Games 4, no. 4 (2023): 108–38. http://dx.doi.org/10.1525/jsmg.2023.4.4.108.

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Consonant with recent developments that have contributed to the ongoing convergence of film and video game forms, a common aspiration exists among many contemporary “Triple A” titles to fulfil what we might call the “cinematic promise” of video games. Many recent releases illustrate that a shift has taken place towards certain games’ stylistic harnessing and hybridisation of cinematic idioms that, in turn, transforms the experience being marketed to gamers. One title in which these dual-aspirations are especially conspicuous is Final Fantasy VII Remake (Square Enix, 2020), a game that straddle

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11

Jankowiak, Steve. "Cult film and politically correct remakes." Film International 7, no. 3 (2009): 28–35. http://dx.doi.org/10.1386/fiin.7.3.28.

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Murthy, C. S. H. N., and O. B. Meitei. "Intertextuality of Film Remakes of Devdas." South Asia Research 36, no. 1 (2016): 24–40. http://dx.doi.org/10.1177/0262728015615477.

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Vila, María Victoria Gomez. "Daniel Varndell (2014) Hollywood Remakes, Deleuze and the Grandfather Paradox." Film-Philosophy 21, no. 1 (2017): 138–41. http://dx.doi.org/10.3366/film.2017.0036.

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Quade, William. "All in good fun? Hollywood, transnational media and Turkish remakes of the 1970s." Film International 22, no. 2 (2024): 37–48. https://doi.org/10.1386/fint_00259_1.

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Utilizing scholarship on transnational film, cultural exchange and Turkish film history, this article situates Turkish cinema’s Yeşilçam era of high genre cinema (1950s–80s) as both inventive and resistive to hegemonic western film representation. While often discussed pejoratively, Kristin Thompson’s theory of cinematic excess is applied to discuss how these films achieve a level of ingenuity beyond orientalist notions of quality and good taste. This article also examines how western aid to Turkey in the post-war era and the establishment of national governing film bodies in the early 1950s c

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15

Harmes, Marcus. "Review of Japanese Horror Films and the Their American Remakes." CINEJ Cinema Journal 3, no. 2 (2014): 218–21. http://dx.doi.org/10.5195/cinej.2014.101.

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Valerie Wee’s monograph on American remakes of Japanese supernatural horror films is a contribution to Routledge’s Advances in Film Studies series and examines a cluster of films made in the late 1990s and early 2000s. These are films which in their first incarnation were Japanese (such as Ringu) which were then remade by Hollywood (for example Ringu became The Ring).

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Evans, Jonathan. "Film remakes, the black sheep of translation." Translation Studies 7, no. 3 (2014): 300–314. http://dx.doi.org/10.1080/14781700.2013.877208.

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Griffin, Nick. "An Aggravated Film Student’s Look at Remakes." Film Matters 2, no. 2 (2011): 30–32. http://dx.doi.org/10.1386/fm.2.2.30_1.

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Saad, Charleine. "Between Domestication and Foreignization: A Study of How an Italian Film Remake Got Lost in Translation in the Arab World." Languages 8, no. 4 (2023): 273. http://dx.doi.org/10.3390/languages8040273.

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Film remakes represent a form of cinematic translation that reconstructs various elements of the original text. This article relies on the translation strategies of domestication and foreignization to analyze “Āṣḥāb Wālā Āʿāz”, the Arabic remake of the Italian film “Perfetti Sconosciuti” or “Perfect Strangers”. This study shows that the Arabic remake, which sparked controversy across the Middle East, replicates many of the syntactic elements of the original film, such as the narrative and the plot structure, as well as cinematographic and paralinguistic elements. Still, it attempts to adopt a

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19

Jiménez Alcarria, Francisco, and Ana Mejón. "Formas de producción en el cine español. Los remakes participados por Telecinco Cinema." Original y copia, del remake al meme: adaptaciones, réplicas y recreaciones en la comunicación, no. 17 (March 7, 2022): 233–1251. http://dx.doi.org/10.24137/9.17.10.

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La producción de remakes en el cine constituye una práctica de carácter transnacional especialmente presente en las cinematografías norteamericana y europeas. Del mismo modo, la adquisición de derechos para adaptar una película de un mercado doméstico a otro infiere un especial interés para los estudios tanto de representación multicultural como de los flujos de producción internacionales. La presente investigación explora desde una perspectiva industrial las películas participadas por la productora Telecinco Cinema que han sido desarrolladas bajo la fórmula del remake en el último lustro (201

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Mogilevich, Mariana. "Charlie's Pussycats." Film Quarterly 55, no. 3 (2002): 38–44. http://dx.doi.org/10.1525/fq.2002.55.3.38.

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The recent films Charlie's Angels and Josie and the Pussycats, filmic remakes of 1970s television series, and furthermore of each other, may be indicative of a new direction for film, which is precisely the direction of television. These new films serve as indexes of each other and of the popular culture from which they have been compiled. As remakes become more common and films rely ever more on our familiarity with other forms of mass media, the vast cultural-industrial complex Theodor Adorno denounced a half-century ago seems to be at its most effective.

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Ren, Boxun. "Chinese Remake of Korean Films: Challenges and Strategies." Studies in Art and Architecture 3, no. 2 (2024): 122–27. http://dx.doi.org/10.56397/saa.2024.06.24.

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This paper conducts an in-depth research and analysis on the challenges and dilemmas faced during the process of Chinese remake of Korean film, as well as the strategies to address these issues. Firstly, the paper reviews the historical development of cooperation between the Chinese and South Korean film industries, noting the rapid growth of the Chinese film industry around 2005 and the increasing collaboration with South Korea. However, with the changing times and the impact of political events, cooperation between the Chinese and South Korean film industries has gradually been restricted, l

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22

Champoux, Joseph E. "Film Remakes As A Comparative View Of Time." Educational Media International 36, no. 3 (1999): 210–17. http://dx.doi.org/10.1080/0952398990360307.

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23

Van Fleit, Krista. "Suspect narratives: “Sinifying” an “Indianized” Japanese story." International Journal of Asian Studies 19, no. 2 (2022): 303–17. http://dx.doi.org/10.1017/s1479591422000067.

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AbstractIn 2013, the Malayalam film Drishyam, a suspenseful story of the cover up of an accidental murder, became a huge hit in India that inspired remakes in many regional languages including one in Hindi that, as with other recent Bollywood hits, traveled to China. This time, though, instead of screening the Hindi film in theaters, the narrative reached Chinese audiences with a Chinese language remake, titled Sheep Without A Shepherd《误杀》. The original film has been accused of lifting its story from a popular Japanese detective novel, The Devotion of Suspect X, which was also made into films

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24

Cuelenaere, Eduard, Gertjan Willems, and Stijn Joye. "Remaking identities and stereotypes: How film remakes transform and reinforce nationality, disability, and gender." European Journal of Cultural Studies 22, no. 5-6 (2019): 613–29. http://dx.doi.org/10.1177/1367549418821850.

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When films are being remade, they undergo several transformations, including changes related to (the representation of) national, disability, and gender identities. By drawing on the case of the Flemish film Hasta La Vista and its Dutch remake Adios Amigos, this article critically investigates the (dis)similarities on these levels through the prism of the film remake. Both films are popular road trip movies dealing with the adventure of three friends with disabilities who overcome boundaries in multiple ways not only by figuratively (and almost literally) escaping their parents and their disab

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Cao, Luyin. "Analyzing the Deconstruction and Reinvention of Infernal Affairs and The Departed Remake from a Cross-Cultural Perspective." Scientific and Social Research 6, no. 11 (2024): 281–87. https://doi.org/10.26689/ssr.v6i11.8839.

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The purpose of this article is to comprehensively analyze the phenomenon of deconstruction and reinvention in the remake process of the film Infernal Affairs (2002) and its Hollywood remake The Departed (2006) from a cross-cultural perspective. With the continuous advancement of globalization, the film is an important carrier of cultural communication, so its cross-cultural remake has become an important bridge connecting different cultures. Hollywood, as the leader of the global film industry, has not only maintained the vitality of the industry through the remake strategy but also successful

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Wanzo, Rebecca. "Identity Remakes in and out of Time." Film Quarterly 75, no. 3 (2022): 71–75. http://dx.doi.org/10.1525/fq.2022.75.3.71.

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Film Quarterly columnist Rebecca Wanzo reads Hagai Levi’s remake of Ingmar Bergman’s Scenes from a Marriage as a case study for ongoing debates about remakes. Noting the particular scorn a remake can be subject to when racial or gender identities are changed or updated, she suggests that Levi’s Scenes is a feminist update that also illustrates how genre can get in the way of more progressive renderings of gender roles, revealing instead the intransigence of heteronormative gender performance.

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Larsen, Mads. "Americanizing the Scandinavian Super Underdog in Eighteen Film Remakes." Journal of Film & Video 75, no. 1 (2023): 29–45. http://dx.doi.org/10.5406/19346018.75.1.03.

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Cuelenaere, Eduard, Stijn Joye, and Gertjan Willems. "Local flavors and regional markers: The Low Countries and their commercially driven and proximity-focused film remake practice." Communications 44, no. 3 (2019): 262–81. http://dx.doi.org/10.1515/commun-2019-2057.

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AbstractThe practice of Dutch-Flemish film remaking that came into existence in the new millennium quickly appeared to be of great importance in the film industries of Flanders and The Netherlands – and consequently of Europe. Inspired by methods used in television (format) studies, this article conducts a systematic comparative film analysis of nine Dutch-Flemish remakes together with their nine source films. Considering the remake as a prism that aids in dissecting different formal, transtextual, and cultural codes, and subsequently embedding the practice in its specific socio-cultural and i

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Cuelenaere, Eduard. "Smith, I. R., & Verevis, C. (Eds.): Transnational film remakes." Communications 43, no. 2 (2018): 289–91. http://dx.doi.org/10.1515/commun-2017-0053.

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Kourdis, Evangelos. "Intersemiotic Translations of Greek Popular Films in the Film Industry and Media." Signs and Media 3, no. 1-2 (2024): 94–111. https://doi.org/10.1163/25900323-12340032.

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Abstract This paper examines cultural texts and their place in the Greek semiosphere. More particularly, it delves into intersemiotic translations or adaptations or remakes of masterpieces of, the so-called, Golden Age of Greek cinema, which are deeply engraved in the Greek collective cultural memory. These cultural texts assume yet further value many decades after they were created, through three semiotic choices involving a translational dimension: their colourisation, their cinematic adaptation, and their amateur remakes hosted on social media and other internet sites. Assuming that the ori

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Fábics, Natália. "Mothers, Stepmoms and the Brave New Family. Intercultural Remake and Melodrama: an Analysis of the American Stepmom and its Bollywood Remake." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (2013): 133–47. http://dx.doi.org/10.2478/ausfm-2014-0008.

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Abstract The Bollywood remake of the American weepie Stepmom (Chris Columbus, 1998) is a fine and rather recent example of the intercultural remake phenomenon, a study topic that is gaining more and more attention. With the aim of suggesting conclusions generally applicable to intercultural remakes, starting from the genre, through characterization, film style and narrative, the present paper examines the remake process in the case of We Are Family (Siddharth Malhotra, 2010) and Stepmom

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Chen, Dongyu, Tianjiao Li, Yuhan Hou, and Yichen Huang. "Research on the Localization Strategy in the Remake of Film and TV Drama Taking the Japanese Remake of Journey to the West as an Example." Communications in Humanities Research 13, no. 1 (2023): 105–10. http://dx.doi.org/10.54254/2753-7064/13/20230253.

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Against the backdrop of globalization, the opportunities for cross-cultural exchanges in the cultural field are gradually increasing, and the development of film and television culture in various countries has ushered in opportunities. However, cross-cultural film and television communication also face obstacles due to the differences in cultural values and national identities among countries. In remakes, it is important to recode the stories and elements of the originals in such scope to reflect the localized folklore stories. The theme of this paper is to explore the dissemination of Journey

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Cai, Changchang. "Reception Aesthetics and the Remaking of Classic Film and Television Series: A Critical Analysis." Literature Language and Cultural Studies 1, no. 3 (2025): 79. https://doi.org/10.63313/llcs.9041.

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The remakes of classic film and television series represent a meticulously planned artistic endeavor that enriches and diversifies China’s film and tele-vi-sion industry. From the perspective of reception aesthetics, grasping the di-verse needs of the audience is paramount to the success of these remakes. To achieve this, it is essential to fully consider the psychological needs of the audi-ence and construct a common discourse space that transcends temporal and spatial boundaries. Such an approach not only evokes widespread resonance but also caters to the “horizon of expectations” across dif

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Stańko, Paweł. "Cowboy and Samurai Values and Their Exponents in the Western "A Fistful of Dollars" (1964) and Its Predecessor the Samurai Movie "Yojimbo" (1961): Proposal of a Methodological Framework for Axiological Analyses of Multimodal Filmic Texts." Anglica Wratislaviensia 57 (October 4, 2019): 149–65. http://dx.doi.org/10.19195/0301-7966.57.12.

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This paper focuses on the issue of valuations and values in the chosen movies linked by the relationship of remaking. Its goal is to show that the complexity of multimodal texts, to which filmic texts and therefore remakes belong, makes it necessary to examine the axiological level of film texts too. In this way we hope to prove that the amply justified and evidenced axiological aspects of language cf. Krzeszowski, Angels, Aspekty, Equivalence; Puzynina, “Językoznawstwo”, Język are also a property of primarily visual film texts. Consequently, the very aspects of the relationship of remaking it

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Cascajosa, Concepción. "Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television, Amanda Ann Klein and R. Barton Palmer (eds) (2016)." New Cinemas: Journal of Contemporary Film 17, no. 1 (2020): 112–13. http://dx.doi.org/10.1386/ncin_00008_5.

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Review of: Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television, Amanda Ann Klein and R. Barton Palmer (eds) (2016)Austin: University of Texas Press, 367 pp.,ISBN 978-1-47730-817-2, p/bk, $29.95

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Ejaz, Khadija. "By any other name: portrayals of autism across international film remakes." Disability & Society 35, no. 5 (2019): 783–810. http://dx.doi.org/10.1080/09687599.2019.1647146.

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Zanini, Claudio Vescia. "It hurts ’cause you’re in my world now, bitch: Gothic features in the 1984 and 2010 versions of A Nightmare on Elm Street." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (2019): 199–212. http://dx.doi.org/10.5007/2175-8026.2019v72n1p199.

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This article aims to discuss the 1984 slasher film A Nightmare on Elm Street and its 2010 remake within a Gothic framework. The main hypothesis is that while both versions display Gothic traces in their imagery and structure, such as transgression and excesses (Botting, 2004), the monstrous character, the haunting return of the past, and the Terrible Place (Clover, 2015), the 2010 film capitalizes more efficiently on the interplay between appearance and reality by enhancing the importance of trauma in its plot. The proposal’s pertinence and originality rely on the juxtaposition of a consolidat

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Zhang, Xinyu. "Film as a Form of Cultural Medium: Trends of the Film Industry." Transactions on Social Science, Education and Humanities Research 11 (August 20, 2024): 367–73. http://dx.doi.org/10.62051/64ymxm60.

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As an important form of entertainment, this paper delves into global cinema, analyzing the significant factors that have shaped the patterns people watch and evaluate films in recent years. The paper focuses on three primary dynamics: the COVID-19 pandemic, the diminishing qualities of movies themselves including the proliferating numbers of remakes and sequels, a perceived decline in film quality attributed to Hollywood's emphasis on political correctness, as well as the emergence of streaming services and short video applications. The epidemic has greatly transformed the conventional practic

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Ulfsdotter, Boel. "East Asian Film Remakes, edited by David Scott Diffrient and Kenneth Chan." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 312–16. http://dx.doi.org/10.33178/alpha.27.33.

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Eden, Bradford Lee. "Science fiction, fantasy and horror film sequels, series and remakes: an illustrated." Reference Reviews 32, no. 6 (2018): 32–33. http://dx.doi.org/10.1108/rr-04-2018-0066.

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Park, Chanhyo. "Changes in Female Characters in Indian Remakes of Korean Films and its Meaning." Korean Society of Culture and Convergence 45, no. 10 (2023): 455–67. http://dx.doi.org/10.33645/cnc.2023.10.45.10.455.

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The purpose of this study is to examine whether the phenomenon is related to existence of the ‘new woman’, which has been highlighted in Indian films since the 2010s, as the aspects of remaking Korea culture contents with interest in ‘family narrative’ and ‘gender’ under the influence of the Korean Wave appear in india lately. Noteworthy works in connection with the subject matter are “Jazbaa” (2015) and “Dhamaka” (2021), which are remakes of “Seven Days” (2007) and “The Terror Live” (2013). In “Jazbaa”, the narrative that highlights awareness of crimes against women is strengthened, and as th

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Ramos Monteiro, Lúcia. "Remaking a European, Post-catastrophic Atmosphere in 2000s China: Jia Zhangke’s Still Life, Iconology and Ruins." Cinémas 25, no. 2-3 (2016): 97–117. http://dx.doi.org/10.7202/1035774ar.

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Jia Zhangke’s Still Life (Sānxiá hǎorén, 2006) was shot in Fengjie, shortly before its flooding brought about by the construction of the Three Gorges Dam, the world’s largest hydropower station in terms of capacity. The film remakes the post-apocalyptic atmosphere found in European films made after the Second World War. From a web of cinephilic, intermedial and intertextual references, which inscribes Still Life in a local and global history of art and of film, this text compares the way Jia films his characters in a disappearing Fengjie with sequences from Roberto Rossellini’s Germany Year Ze

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Nurgali, K., and Zh K. Nurmanova. "CHILDREN'S STORY B. SOKPAKBAYEV "MY NAME IS KOJA": FROM BOOK TO REMAKE." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 1 (March 30, 2023): 236–49. http://dx.doi.org/10.55808/1999-4214.2023-1.19.

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The work of Berdibek Sokpakbaev, a classic of Kazakh children's literature, often became the object of journalistic works, literary research and dissertation research. However, the fate of the book itself, which was continued in fiction, cinema, remakes, remained unexplored, which predetermined the relevance of this work. The purpose of this article is to describe the transformation of the well-known school story “My name is Kozha” by B. Sokpakbaev, which has gone from the text of the story to film texts (“My name is Kozha” by A. Karsakbaev (1964), “Menin de atym Kozha” by Yerkin Rakishev (200

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Simonton, Dean Keith. "Is Bad Art the opposite of Good Art? Positive versus Negative Cinematic Assessments of 877 Feature Films." Empirical Studies of the Arts 25, no. 2 (2007): 143–61. http://dx.doi.org/10.2190/2447-30t2-6088-7752.

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Although some research suggests that negative judgments might be more complex and more potent than positive judgments, cinematic assessments may offer an instance of a genuine bipolar evaluative dimension. This is shown in an analysis of 877 feature films that received positive (Oscars) or negative (Razzie) recognition in the categories of best/worst picture, director, male and female lead, male and female supporting actor, screenplay, and original song (whether nomination or actual award). These assessments were compared with film critic evaluations, financial and box office data, and several

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Murphy, Gillian, Didier Ching, John Twomey, and Conor Linehan. "Face/Off: Changing the face of movies with deepfakes." PLOS ONE 18, no. 7 (2023): e0287503. http://dx.doi.org/10.1371/journal.pone.0287503.

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There are growing concerns about the potential for deepfake technology to spread misinformation and distort memories, though many also highlight creative applications such as recasting movies using other actors, or younger versions of the same actor. In the current mixed-methods study, we presented participants (N = 436) with deepfake videos of fictitious movie remakes (such as Will Smith staring as Neo in The Matrix). We observed an average false memory rate of 49%, with many participants remembering the fake remake as better than the original film. However, deepfakes were no more effective t

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Christopher, David. "Horror and the Cube Films: An unlikely medium for the negotiation of Nationalist-Cultural ideologies." Mutual Images Journal, no. 11 (December 20, 2023): 139–70. http://dx.doi.org/10.32926/2023.11.8.

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Over the past several decades, scholarship has come to recognise the unexpected significance of horror cinema ventures as both culturally and politically relevant. One of Canada’s greatest horror film successes was Vincenzo Natali’s 1997 psychological thriller Cube that metaphorically explores the suffocating nature of vocational social relations under the conditions of a patriarchal military-industrial capitalism. So innovative was its premise that US interests quickly acquired the rights to produce and distribute Cube 2: Hypercube (2002) and Cube Zero (2004), but they were just as quick to r

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Saltmarsh, Sue. "Spirits, Miracles and Clauses: Economy, Patriarchy and Childhood in Popular Christmas Texts." Papers: Explorations into Children's Literature 17, no. 1 (2007): 19–27. http://dx.doi.org/10.21153/pecl2007vol17no1art1201.

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In this paper I explore the notion of childhood as it is re/configured in Christmas texts through the discursive frames of industrialisation and global capitalism. Through a poststructuralist analysis of three Christmas texts from the 1840s, 1940s and 1990s, I map discursive shifts in the ways that children and childhood are constructed in relation to the discourses of capitalist societies. Three texts are examined in detail: A Christmas Carol, published by Charles Dickens in 1843; the 1947 version of the film, Miracle on 34th Street; and the 1999 Walt Disney film, The Santa Clause. While thes

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Akkan, Goksu Gigi. "Midnight Express as a Product of Hollywood Orientalism." Communication, Society and Media 1, no. 1 (2018): 20. http://dx.doi.org/10.22158/csm.v1n1p20.

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<p><em>The concept of Orientalism has been a forthcoming issue in film studies, be it the (mis)representation of minority groups in Hollywood, or white</em><em>-</em><em>washing people of color characters in remakes of films from “the Orient”, or through a complete omission of representation of these characters. Ideology is a great aspect in shaping the views of the masses, and as they become more embedded in cultural devices such as films, the more soft power they deploy and the more problematic they become. In Foucauldian terms, knowledge about the Orient

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KVARAN, KARA M. "“You're All Doomed!” A Socioeconomic Analysis of Slasher Films." Journal of American Studies 50, no. 4 (2016): 953–70. http://dx.doi.org/10.1017/s0021875815002674.

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This paper posits a socioeconomic explanation for the popularity of the slasher film genre. These films created a unique sub-genre in which teenage protagonists had to contend with unstoppable forces, in the form of manic killers, while every aspect of modernity and the middle-class lifestyle failed them. Cars and telephones die, the suburbs offer no sanctuary, and adults are absent or ineffectual. The slasher genre rose in popularity as the American economy spiraled into recession. By examining the big three franchises of Halloween, Friday the 13th, and A Nightmare on Elm Street this paper an

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Kim, Choong Kook. "Diffusion and Appropriation of Affect : Mode of Taiwanese Youth Romance Film Remakes - Focusing on Hear Me." CONTENTS PLUS 23, no. 1 (2025): 69–81. https://doi.org/10.14728/kcp.2025.23.01.069.

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