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h better than a pitch” (Frater & Kay: 2003: 9) says Amanda Klein of Primal Pictures, it just makes it easier for the Studios to see success in an idea. Also as only a tiny percentage would have seen the originals of these proposed remakes, Hollywood doesn’t have to fear the audiences’ reactions and comparisons quite as much (Singer: 2004: 7).

Although Gore Verbinski’s The Ring has been praised for how true to the original is stayed, it is still riddled with differences, some minor and some very major. It is these differences that I will now discuss, by comparing the two films. Even though the story lines in both Ringu and The Ring are extremely similar, you can quite easily spot a large difference. All the way throughout Ringu there are references to characters having ESP (Extrasensory perception), with them using this supernatural instinct to read people’s minds and tell some of the story through flash backs.

The characters Ryuji Takayama, Reiko and Yoichi Asakawa, as well as the whole Yamamura family possess this power, but their American versions in The Ring do not. Verbinski refers to the ESP elements as being “too convient” (O’Toole: 2003: 94) as for the reason they were left out, and Walter Parkes states that the decision was made to leave it out as it made the story take a “dreamlike nature” (Arnold: 2002), where a “Western audience require linearity” (O’Toole: 2003: 94).

DreamWorks and Walter Parkes felt that for the film to be successfully remade its overall feel would have to be changed, and the whole film much more Americanised. Although it had given them a “great template” (O’Toole: 2003: 93) that was pretty much all it was, as Parkes says himself the original was “elusive or downright confusing” (Frater & Kay: 2003: 10) and there was fears that an American audience not used to subtlety might not follow it. Verbinski himself states that he had “changed 50 per cent of the original” (O’Toole: 2003: 94), in an attempt to make it more accessible to an audience not used to the J-Horror style. The Ring shifts its story away from the originals background in folklore and myth, instead “towards the established generic vernacular in contemporary American popular culture for rendering the paranormal” (Langford: 2005: 180), like that used in a programmes such as The X-Files for example.

The cursed video tape used in The Ring is clearly very different to that of Ringu’s, longer, more professional and uses the kind of shots you would see in an American horror film. It stays true to most of the content of the original, with shots of the well [fig. 2.1 & 2.2] and Anna Morgan brushing her hair [fig. 2.3 & 2.4], but cannot resist in adding a number of “generic horror images” (Langford: 2005: 179).

Images of crawling insects, electrodes coming from open mouths, fingers being impaled on nails and then severed fingers wriggling in a box have all been added in, in scenes which are more reminiscent of those found in body-horror films such as Saw (2004) and Hostel (2005), than the original Ringu. The images are “considerably clearer” (Langford: 2005: 179) than in Ringu, using equipment such as Steadicams in the shot of Anna Morgan’s suicide. Even though the character of Noah Clay describes 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。