دانلود کتاب East Asian Film Remakes

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Contents\nIllustrations\nForeword\nNotes on Contributors\nIntroduction: East Asian Film Remakes\nPart I Re-fleshing the Text: Sex, Seduction, Desire\nChapter 1 How to Sell a Remake: The Gate of Flesh Media Franchise\nChapter 2 Against Anaesthesia: An Empty Dream, Pleasurable Pain and the ‘Illicit’ Thrills of South Korea’s Golden Age Remakes\nChapter 3 Two Faces of Seduction: Martial Heroines and Karmic Women in Chor Yuen’s Intimate Confessions of a Chinese Courtesan and Lust for Love of a Chinese Courtesan\nChapter 4 Japanese Self-Made Film Remakes as Self-Improvement: Professional Desires and DIY Fulfilment, from Panic High School to Tetsuo\nPart II Serialising Ozu: The Enduring Legacy of a Cinematic ‘Tofu Maker’\nChapter 5 Definition and Progression: Ozu Yasujirō’s ‘Noriko Trilogy’\nChapter 6 A Remake, But. . .: Media Infantility in Ozu’s Good Morning\nChapter 7 The Cinema of Serial Vitality: Ozu Yasujirō and Yamada Yoji\nPart III Revisiting Personal/Political Traumas in East Asian Action Films, Gangster Films and Westerns\nChapter 8 Opting Out of History: Miike Takashi’s New Graveyard of Honor\nChapter 9 The Promise of Hokkaidō: Trauma, Violence and the Legacy of the Imperial Frontier in Lee Sang-Il’s Unforgiven\nChapter 10 Benny Chan’s Connected and the Hollywoodisation of Hong Kong Cinema\nChapter 11 Vessels and Cargos: Spaces of Inclusion and Exclusion in Johnnie To’s Drug War and Lee Hae-young’s Korean Remake Believer\nPart IV Local Flavours and Transcultural Flows in East Asian Comedies, Dramas and Fantasies\nChapter 12 The Power of Healing in Little Forest(s): Cross-Cultural Perspectives on Food, Friendship and Self-identity, from Japan to Korea\nChapter 13 More than Blue and Man in Love: Transnational Korean-Taiwanese Film Remakes as a Facilitator for Taiwan Cinema\nChapter 14 The Pan-Asian ‘Miss Granny’ Phenomenon\nChapter 15 Remaking in the Age of Chthulumedia: Stephen Chow’s The Mermaid\nIndex