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前言

自21世纪以来，在好莱电影世界中，一种新型的电影模式开始弥漫开来，已经成为一种普遍的电影形式，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。

在本文中,我将探讨这种电影类型发展背后的原因,在电影的世界中，很多人喜欢罗伊·李和眩晕娱乐，并且已经得到了认可，取得了相应的成功。要做到这一点,我觉得重要的是要看国家播出的好莱坞恐怖片,以及看电影如何改变诸多事情，这些电影有很多，如午夜凶铃(2002)和咒怨(2004)。

此外，我将着眼于恐怖片和它的美国同类电影之间的差异,并考虑如何重塑电影模式，以为电影行业重建一个有吸引力的前景。同时，揣测电影重塑背后的学术理论,对于不同的电影重建，有不同的方式和类型，利用利奇和格林伯格的作品,试图帮助确定好莱坞导演所擅长使用的解决不项目的不同方法。

Introduction

Since the beginning of the 21st Century a new trend has become commonplace within the Hollywood horror genre, Japanese horror films are being purchased and remade for a new audience, removing the traditional underlying history and Americanising them for western viewers waiting for their next dose of fear and terror.

In this dissertation I will explore the reasoning behind this influx of remakes, looking at the important roles people like Roy Lee and Vertigo Entertainment have played in their acceptance and successes. To do this I feel it is important to look at the state Hollywood horror was in before, and how films such asThe Ring (2002) and The Grudge (2004) have changed things.

As well as this I will look at the differences between J-Horror and its American counterpart, and how these have made them an appealing prospect for remaking. It will also be important for me to look at the academic theories behind remakes, and the different types of remake there are, using the work of Druxman, Leitch and Greenberg to try and help identify the different approaches used by Hollywood directors whilst tackling these projects.

As well as investigating into why this has become so popular recently, and what examples there are in the past of similar situations arising, I’ll be attempting to predict how long this will last for, and the problems studios may encounter by doing it on a large scale.

I will begin in Chapter One by introducing the work of Michael Druxman, Thomas Leitch and Harvey Roy Greenberg, summarising their writings on the topic of remakes and looking at how they each have different categories of them, depending on the new films style and the way it is released. I will look at Leitch’s theory of the “triangular relationship” (1990: 139) which helps to explain how remakes differ so much from other versions of adaptation. Along with these categories of remake I will attempt to give examples of different films which fit into the criteria, as well as relating them to the current trend of remaking J-Horror.

In Chapter Two I will talk about the differences between Hollywood and Japanese horror styles, looking at both countries long histories in the genre, focussing on things such as folklore and local tradition, trying to discover why the two styles are so different. I will look at the origins and formation of the J-Horror style, along with the key films and directors associated with the movement. Before focussing on Hollywood’s history of remaking, and some of the reasons and thinking behind doing it, looking at films such as Yojimbo (1961) and Shichinin no samurai (Seven Samurai, 1954) as examples of this happening in the past.

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