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有关日本恐怖电影的重塑和发展的留学生本科毕业论文 [3]

论文作者:www.51lunwen.org论文属性:本科毕业论文 Thesis登出时间:2014-08-17编辑:felicia点击率:25440

论文字数:11628论文编号:org201408152155455835语种:英语 English地区:中国价格:免费论文

关键词:好莱坞电影日本恐怖电影影视专业dissertationHollywood horror genrenew audienceAmerican counterpart

摘要:本文是一篇美国留学生影视专业本科毕业论文dissertation。自21世纪以来,好莱电影世界得到了迅速的发展,日本恐怖电影为了迎合观众的口味,被重新购买重新制作,消除了传统的基本历史的局限性,推动了西方世界对电影的认识和理解,满足了西方观众的心理需求,消除了“美国化”的恐惧和恐怖心理。本文简要分析了美国恐怖电影的重塑和发展。

ific categories. The writings of Robert Eberwein, Michael Druxman, Harvey Roy Greenberg and Thomas Leitch, have defined multiple different types of remade film between them, from the wide and vague to the extremely specific. These books and essays can prove very helpful when comparing remade cinema, especially in trying to identify why the film in question has been remade, and the thinking behind it. I hope to use these definitions to help answer my own question of why there is such a high demand for westernising Japanese horror.



In one of the first texts dedicated solely to the subject of the movie remake, Make It Again, Sam, Druxman sets out to answer three questions through the analysis of thirty three films and their remakes (1975: 9). These questions are “Why was the picture remade?”, “How was the remake different from the original as far as important story changes were concerned?” and “What was the critical reaction to the remake?” (Druxman: 1975: 9). When searching for a definition of a “remake“ for his work Druxman decided that he would not take into account obvious sequels to films, and instead focus mainly on those that were based on a “common literary source” (1975: 9), such as an existing screenplay, novel, play, etc.


Three major factors are described as driving “industry pragmatism” (Verevis: 2006: 5) in regards to Hollywood’s practice of remaking. Druxman argues that the first of these factors is that the studios’ decision to remake is a “voluntary one” (1975: 13) based on the fact that the script is still relevant today and could prove successful. However during the 1930s and 1940s, in the studio dominated era, they were forced to produce a certain amount of films every year (Druxman: 1975: 13). Producers found themselves with no alternative than to start using previously filmed movies as sources for new “B” and sometimes top-of-the-bill productions (Verevis: 2006: 6). These updated plots were essentially the same as their predecessor, with just the settings and characters being changed slightly.


Druxman’s second point is that it was common practice for studios to purchase rights to plays, novels and stories, so that they could then produce multiple versions of these without giving the copyright holder additional payments (Verevis: 2006: 6). As Literary classics such as Dr. Jekyll and Mr. Hyde andThe Three Musketeers where in the public domain, it meant that no initial payment would have to be paid for their dramatic rights (Verevis: 2006: 6).


The final factor is simple economics; established films can be redone in order to exploit the ever changing production techniques and movie stars. That is why these old stories were, and will continue to be, constantly resurrected. If a studio has purchased the rights to something they will want to redo and release it as many times as possible in order to maximise their gain.


Through Druxman’s definitions and in depth analysis of Hollywood remakes he comes up with three categories which he feels they can fall under; the direct, disguised and the non-remake (Druxman: 1975: 15). The direct remake category contains films that do not even attempt to hide the fact that they are based on earlier productions (Druxman: 1975: 15). S论文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。

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