Dr Serena Formica
Download
1 / 16

- PowerPoint PPT Presentation


  • 136 Views
  • Uploaded on

Dr Serena Formica The University of Derby s.formica@derby.ac.uk. If Hercule Poirot spoke Japanese: a cross-border adaptation of Agatha Christie’s novels . A Transnational Cinema . Scholars agree that Is made by transnational filmmakers has transnationalism as its object Characteristics

loader
I am the owner, or an agent authorized to act on behalf of the owner, of the copyrighted work described.
capcha
Download Presentation

PowerPoint Slideshow about '' - cara


An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.


- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript
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.uk

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


A transnational cinema
A Transnational Cinema

Scholars agree that

  • Is made by transnational filmmakers

  • has transnationalism as its object

    Characteristics

  • it works across borders

  • it both pre-supposes national cinema

  • and transcends it

  • it lies at the intersection between the global and the local


If hercule poirot spoke japanese a cross border adaptation of agatha christie s novels

  • ‘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)


But this is not the end of the story
But this is not the end of the story… 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

Distinction among

  • transnational cinema

  • transnational 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…


If hercule poirot spoke japanese a cross border adaptation of agatha christie s novels

Anime Poirot voiced by Kōtarō Satomi 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

Kōtarō Satomi

David Suchet as Poirot


No meitantei poirot
No Meitantei Poirot 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

Japanese elements

Western elements

  • Voice actors  

  • Titles

  • Body language

  • Settings

  • Production design

  • Clothing


If hercule poirot spoke japanese a cross border adaptation of agatha christie s novels

  • ‘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)


No meitantei as an adaptation
No Meitantei straightforward argument for the homogenization of the world based on Western modernity, the arguments for 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.


If hercule poirot spoke japanese a cross border adaptation of agatha christie s novels

  • ‘[ straightforward argument for the homogenization of the world based on Western modernity, the arguments for 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)


If hercule poirot spoke japanese a cross border adaptation of agatha christie s novels

Rural England in straightforward argument for the homogenization of the world based on Western modernity, the arguments for No Meitantei Poirort


No meitantei poirot to marple as a transnational cultural product
No Meitantei Poirot to Marple straightforward argument for the homogenization of the world based on Western modernity, the arguments for as a transnational cultural product

  • it completely displaces a quintessentially British and western fictional world.

  • Agatha Christie’s universe in No Meitantei:

    • an animated world

    • the characters speak

    • bow to each other

    • have 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


If hercule poirot spoke japanese a cross border adaptation of agatha christie s novels

References straightforward argument for the homogenization of the world based on Western modernity, the arguments for

  • 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.

  • Turner, Graeme, Understanding Celebrity, London and Los Angeles: Sage, 2010.

    Television

  • “The Jewel Robbery at the Grand Metropolitan ”,Dir. Ken Grieve. Agatha Christie’s Poirot, ITV. LTW, London, 7 Mar 1993.

    Anime

  • “No Meitantei Poirot to Marple”, Dir. Takahashi Naohito, NHK. OLM, Japan, Jul 4 – May, 15 2005.

  • “The story of Perrine” (orig. tit. PeriinuMonogatari), Dir. Hiroshi Saitô and Shigeo Koshi, Nippon Animation Co., Japan, January 1, 1978 – December 31, 1978

  • “Heidi”, (orig. tit. Arupusu no shôjoHaiji), Dir. Isao Takahata, Zuiyo, Fuji Television Network, ZweitesDeutschesFernsehen (ZDF), January 6, 1974 – December 29, 1974

    Arigato Gozaimasu!!!