Remaking East Asia, Outsourcing Hollywood

Xu, Gary Gang

doi:10.5040/9780755696673.ch-012

Cited by 6 publications

(5 citation statements)

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“…The Ring (Verbinski, 2002). Yet, whilst Hollywood's outsourcing of its research and development to other film industries is not novel (Xu 2008), what is unusual is how La casa muda came into existence. Although its remake status would suggest that it should be considered on par with Asian films like Ringu, in factas this article elaboratesfrom a tiny budget it had a more fortuitous rise to international prominence.…”

Section: Was Remade Asmentioning

confidence: 99%

What is the ‘Silent House’?: Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House

Martin‐Jones

Montañez

2019

Studies in Spanish & Latin-American Cinemas

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This article focuses on the micro-budget Uruguayan horror movie, La casa muda/The Silent House (Hernández, 2010), as exemplar of the difficulties Uruguayan filmmakers face in production and (international) distribution and the innovative means they develop to negotiate these issues. Like many Uruguayan films, La casa muda premiered internationally (at the Cannes Film Festival) and, as outlined in the article, it follows a similar aesthetic and narrative 'backgrounding' of the nation (the deliberate erasure of indicators of national identity, such as national monuments) to that of Uruguayan art films. Nevertheless, its production history and journey to international prominence remains rather unique. This distinction reinforces the importance of the festival circuit in facilitating production and distribution of Uruguayan art films, but, alsoas is less often discussedthe television industry and especially the internet as counterbalances to the dominance of Hollywood's outreach in the region. Moreover, the 'ambiguous' nature of the film's narrative and iconographic content illustrates how Uruguayan filmmakers simultaneously meet, and depart from, international audience expectations. Ultimately, La casa muda is not of interest specifically for being a Latin American horror film, but because it travelled internationally using the same distribution platforms (the festival circuit, DVD release), and aesthetic

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Section: Was Remade Asmentioning

confidence: 99%

What is the ‘Silent House’?: Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House

Martin‐Jones

Montañez

2019

Studies in Spanish & Latin-American Cinemas

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“…La casa muda, a film made for just US$8,000, which Martin-Jones and Montañez explore here, received a twopage spread in the middle-brow British film magazine Empire exploring how the blocking worked in terms of acting and cinematography. For its part, the film's Hollywood remake demonstrated Latin American cinema's increasing challenge to Asia as the preferred location for the major studio's outsourced research and development (Xu 2008).…”

Section: Contemporary Uruguayan Cinemasmentioning

confidence: 99%

Contemporary Uruguayan cinemas

Martin‐Jones

Montañez

Brown

2019

Studies in Spanish & Latin-American Cinemas

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This introduction to the special issue on Uruguayan Cinema outlines the unifying thematic (of exploring contemporary Uruguayan cinemas) and the manner of exploration (from outside the country looking in, and, from inside looking out-a 'hermeneutic circle' [Dabashi 2008. 240]). It also situates the issue with respect to the field of scholarly work on Uruguayan cinema (exploring reasons behind the relative lack of scholarly interest in Uruguayan filmmaking), and Latin American cinema more broadly, before briefly discussing the articles in turn.

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“…However, these roads all begin at familiar locations and lead to similar destinations. Accounts emanating from both political economy and the cultural geography tradition have been premised on the licensing and syndication of finished programmes in multiple markets or, in the case of NICL, 'runaway productions' (see Goldsmith and O'Regan, 2005;Xu, 2004). At the time of the peripheral vision thesis, moreover, little information was available about the emerging format business -a product of the late 1990s -which now constitutes an alternative model of media globalization, and is evidence of a greater degree of integration in global media markets (see Moran and Keane, 2004).…”

Section: Rethinking the Binariesmentioning

confidence: 99%

“…The first wave of reverse colonization is hardware -the competitiveness of East Asian technology (Sony, Samsung and Lenevo); the second wave is content (Japanese manga, anime and TV formats; Hollywood remakes of recent East Asian cinema successes); the third wave is the cross-over of directors and actors from Asia to Hollywood (Zhang Yimou, John Woo, Ang Lee and Jackie Chan). Moreover, a rise in international co-production activity and outsourcing from Hollywood to Asia provide good reasons to rethink the dominance conventions that organize academic inquiry (Iwabuchi, 2002;Moran and Keane, 2004;Xu 2004;Yeh and Davis, 2002). The periphery is no longer marginal to academic research: as Erni and Chua point out, Asia is now well and truly 'on the map' (2005: 5-8).…”

Section: Rethinking the Binariesmentioning

confidence: 99%

Once were peripheral: creating media capacity in East Asia

Keane

2006

Media, Culture & Society

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This article considers new approaches to media industry development and the field of Asian media studies. It argues that new patterns of integration have emerged within the global media economy. The rise of East Asian ‘newcomers’ such as South Korea, Taiwan and the People’s Republic of China has come about from a combination of institutional realignment and strategic (often state-assisted) responses to regional industrial growth. The article proposes a five-part framework of international exchange that encapsulates challenges confronting mid-level markets that are aspiring to target international content markets. The framework is also a critique of the US-centric approaches that argue that global integration effects are normatively disadvantageous to ‘peripheral’ industries and societies.

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Remaking East Asia, Outsourcing Hollywood

Cited by 6 publications

References 0 publications

What is the ‘Silent House’?: Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House

What is the ‘Silent House’?: Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House

Contemporary Uruguayan cinemas

Once were peripheral: creating media capacity in East Asia

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