If Hercule Poirot spoke Japanese: a cross-border adaptation - PowerPoint Presentation

388 views
Uploaded On 2017-10-27

If Hercule Poirot spoke Japanese: a cross-border adaptation - PPT Presentation

Dr Serena Formica The University of Derby sformicaderbyacuk A Transnational Cinema Scholars agree that Is made by transnational filmmakers has transnationalism as its object Characteristics ID: 599958

poirot transnational cinema meitantei transnational poirot meitantei cinema london dir 2005 japanese adaptation western film 2002 iwabuchi world formica

Link:

Copy

Embed:

<iframe width="560" height="315" src="https://www.docslides.com/embed/599958" frameborder="0" allowfullscreen></iframe>

Download Presentation from below link

Download Presentation The PPT/PDF document "If Hercule Poirot spoke Japanese: a cros..." is the property of its rightful owner. Permission is granted to download and print the materials on this web site for personal, non-commercial use only, and to display it on your personal computer provided you do not modify the materials and that you retain all copyright notices contained in the materials. By downloading content from our website, you accept the terms of this agreement.

Presentation Transcript

Slide1

If Hercule Poirot spoke Japanese: a cross-border adaptation of Agatha Christie’s novels

Dr Serena Formica

The University of Derby

s.formica@derby.ac.ukSlide2
Slide3
Slide4
Slide5
Slide6

A Transnational Cinema

Scholars agree that

Is made by transnational filmmakers has transnationalism as its objectCharacteristicsit works across borders it both pre-supposes national cinema and transcends it it lies at the intersection between the global and the localSlide7

‘Transnational cultural flows neither fully displace nationally delineated boundaries, thoughts, and feelings, nor do they underestimate the salience of the nation-state in the process of globalisation. Rather, it might more often than not be the case that “the transnational has not so much displaced the national as resituated it and thus reworking its meanings

(Rouse 1995, 380)

.” ’ (Iwabuchi, 2002, 17)Slide8

But this is not the end of the story…

Distinction amongtransnational cinematransnational films transnational filmmakers in order to have transnational cinema, it is necessary to have

either a transnational filmmaker or a transnational film. It is possible to have transnational cinema when a film’s content is transnational even if the filmmaker is not transnational

Applying these criteria, it would seem that No Meitantei Poirot is not a transnational series… Slide9

Kōtarō Satomi

David Suchet as Poirot

Anime Poirot voiced by Kōtarō SatomiSlide10

No Meitantei Poirot

Japanese elements

Western elementsVoice actors Titles Body language Settings Production design ClothingSlide11

‘Although globalisation perspectives surely complicate the straightforward argument for the homogenization of the world based on Western modernity, the arguments for

transculturation

, heterogenisation [and] hybridisation […] are predominantly studied in terms of how the Rest resists, imitates, or appropriate the West.’ (Iwabuchi, 2002, 49) Slide12

No Meitantei

as an adaptation

According to Hutcheon a good adaptation has to be recognizable as having a relation with the original has to function as a standalone text for audiences who do not know the original text.Slide13

‘[Shojo

means] “little female”, and originally referred to girls around the ages of 12 and 13. Over the last couple of decades, however, the term has become a shorthand for a certain kind of liminal identity between child and adult’(Napier, 2005, 148)Slide14

Rural England in

No Meitantei PoirortSlide15

No Meitantei Poirot to Marple

as a transnational cultural productit completely displaces a quintessentially British and western fictional world.Agatha Christie’s universe in No Meitantei:an animated world

the characters speakbow to each otherhave to deal with the coming-of-age of a rebellious girl and with the whims of a kawaii (cute) duck pet

Japanese

日本のSlide16

References

Ezra, Elizabeth and Rowden, Terry (eds), Transnational Cinema. The Film Reader, London and New York: Routledge, 2006, ‘Introduction’.Formica, Serena,

Peter Weir. A Creative Journey from Australia to Hollywood, Bristol: Intellect Books, 2012.Goldsmith and O'Regan, ‘The Policy Environment of the Contemporary Film Studio’, in Greg Elmer and Mike Gasher (eds), Contracting out Hollywood. Runaway Productions and Foreign Location Shooting, Lanham, MD: Rowan & Littlefield, 2005

Hutcheon, Linda.

A Theory of Adaptation

, London:

Routledge

, 2006.

Iwabuchi

, Koichi,

Recentering

Globalisation. Popular Culture and Japanese Transnationalism, Durham and London: Duke University Press, 2002

Napier, Susan,

Anime. From Akira to Howl's Moving Castle

, New York: Palgrave, McMillan, 2005.