Remaking Gender and the Family

Perspectives on Contemporary Chinese-language Film Remakes

Series:

In Remaking Gender and the Family, Sarah Woodland examines the complexities of Chinese-language cinematic remakes. With a particular focus on how changes in representations of gender and the family between two versions of the same film connect with perceived socio-cultural, political and cinematic values within Chinese society, Woodland explores how source texts are reshaped for their new audiences. In this book, she conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can highlight not just differences in attitudes towards gender across cultures, but also broader concerns relating to culture, genre, auteurism, politics and temporality.

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Biographical Note
Sarah Woodland, Ph.D. (2016), University of Queensland, is a sessional lecturer in Chinese translation and cross-cultural communication.
Review Quotes
"The way in which Woodland conveys her research is clear and inspirational, especially when pointing out issues that so far have remained understudied. Students in the field of remake studies will benefit immensely from using this publication as a stepping stone for their endeavors. This book...is a timely and relevant addition."
-Anne Sytske Keijser, Leiden University, in Nan Nü, Vol. 21 (2019) pp. 165-167
Table of contents
AcknowledgementsX

1 Introduction
 Defining a Remake
 Originality, Similarity and Cross-Culturality
 Gendering Remakes
 Aims and Structure of this Book

2 Remaking the Modern Family
 The Construction of Gender in What Women Want
 Sexuality in What Women Want
 The Family in What Women Want
 Reflections

3 Gender, Genre and the Auteur
 The Coen Brothers’ Blood Simple
 Genre and Gender in Blood Simple
Blood Simple Remade— A Woman, A Gun and a Noodle Shop
 Gender in A Woman, A Gun and a Noodle Shop: A Lesson in ‘Zhangification’
 Reflections

4 Ghosts of Chinas’ Past and Present
 Locating A Chinese Ghost Story (1987) in Hong Kong Cinema
 Remaking A Chinese Ghost Story (2011)
 Manifestations of Gender and Sexuality in A Chinese Ghost Story
 Forgetting History
 Reflections: The ‘State’ of Hong Kong and Chinese Cinemas

5 History Repeating in Spring in Small Town
 Cultural Politics in Spring in a Small Town (1948)
 From Outlaw to Auteur—Fei’s Post-1980s Transformation
 Reading Gender in Spring in a Small Town
 The Changing Politics of Cultural Policy: Springtime in a Small Town (2002)
 Re-reading the Remake—Gender and Politics in Springtime in a Small Town
Springtime in a Small Town and Political Revolution
 Reflections

6 Remaking “China”
 Remakes and Perspectives on Being Chinese

Glossary
References
Index
Readership
This monograph would be of relevance to academics and non-specialists with an interest in Asian/Chinese-language cinema, gender, film, culture and remake studies. The work be a useful addition to institutional collections on these topics as well.
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