By Leon Hunt
East Asian cinema is likely one of the most fun and influential within the world. The acclaim for chinese language martial arts motion pictures, jap horror, and new Korean cinema has attracted well known and significant consciousness on an international scale, with motion pictures from the zone circulating as arthouse, cult, blockbuster and "extreme" cinema, or as Hollywood remakes. This booklet explores advancements within the worldwide acclaim for East Asian cinema, with specific emphasis on crossovers, remakes, hybrids and co-productions. It examines altering cinematic traditions in Asia along the "Asianisation" of western cinema. It explores the discussion not just among "East" and "West," yet among varied cinemas within the Asia Pacific. What do those tendencies suggest for international cinema? How are co-productions and crossover motion pictures altering the character of Hollywood and East Asian cinemas? Individual essays comprise case reviews of Park Chan-wook, Infernal Affairs, Seven Samurai, Princess Mononoke and Kill invoice.
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Extra info for East Asian Cinemas: Exploring Transnational Connections on Film (Tauris World Cinema Series)
Regardless of the historico-cultural dimensions of the film (about which we will have more to say), in terms of genre it appears to be a complete break from the pre-war samurai film and absolutely sui generis in the post-war period. Although jidai geki featuring samurai certainly had a tradition of social engagement, adult orientation and artistic integrity, with many top directors of the pre-war period working in the form, few films combined the unabashed reliance on sword play and other action set-pieces with such seriousness of purpose.
There are, for instance, two major dramatic moments in Seven Samurai that seem to be particularly piquant for future film-makers. The first is the arrival of the samurai into the beleaguered community. After some days of travel, they arrive on a bluff overlooking the village (Figure 2). Figure 2. Seven Samurai arrive at the village 02 EA Cinema_015-040 28/1/08 11:36 Page 29 Remaking Seven Samurai in World Cinema 29 The reality of their situation hits them: that they have indeed been hired to protect a group of farmers and that it is a less-than-glamorous locale.
The character of Bernardo O’Reilly is introduced in much the same manner as Heihanchi, chopping wood, but they otherwise share few characteristics. Nevertheless, it is interesting that the c) d) e) f) 02 EA Cinema_015-040 26 28/1/08 11:36 Page 26 E A C screenplay for the American film would use the exact same motif of a down-on-his-luck fighter discovered chopping wood for a day’s pay. Similarly, Bernardo is given some of the attributes of Kikuchiyo in that he befriends some of the village children.