Suchergebnisse

While the canon of so-bad-it's-good cinema has predominantly centred upon American films, it is notable that a significant number of recent entries–including Miami Connection, Troll 2, Samurai Cop, The Room and Birdemic: Shock and Terror–were directed by non-American filmmakers working in America. Building on Hamid Naficy's use of the concept 'accented cinema' to describe exilic and diasporic filmmakers working in the West, this article explores the cultural politics of accented cult cinema and investigates to what extent the celebration of these low-budget exploitation films as so-bad-it's-good relies upon a (largely disguised) perception of foreignness.

Despite India's status as one of the leading centres of global film production, and the passion for Bollywood exhibited by fans worldwide, it is notable that Indian cinema very rarely features within lists of cult films compiled by scholars or fans in the West. Unlike the popular cinemas of Hong Kong and Japan, which have built up a significant transnational cult following, Bollywood has been relatively absent from the established canons of cult cinema. In recent years, however, a number of websites and fan publications have started to frame Indian cinema as an object of cult interest and this is therefore an opportune moment to explore the cultural politics of this burgeoning form of transnational reception. In proposing that we theorise this as 'cult cosmopolitanism' – designating the cosmopolitan embrace of cultural difference through cult reception practices – this article considers the implications that this phenomenon has for our understanding of the transnational circulation of Indian cinema and global popular cinemas more generally.

In 1974, producer Hulki Saner hired acclaimed director Metin Erksan to direct an unofficial remake of William Friedkin's The Exorcist (1973). The resultant film, ?eytan, took the plot, characters and set-pieces from the prior film and translated them into a predominantly Islamic setting. This process of intercultural dialogue exemplifies Yesilçam, a cycle of low-budget cinema from Turkey that flourished throughout the 1960s and 1970s in which elements of Western popular culture were being borrowed and remoulded into the Turkish context. Drawing on Tom O'Regan's model of cultural exchange and transmission, this article seeks to build a model of intercultural dialogue attendant to the underlying tensions and negotiations within this hybridised cultural text, an issue of particular contemporary resonance at a time when the EU is proposing 2008 as the 'Year of Intercultural Dialogue' and Turkey is itself in talks over its accession to the EU. Building upon that oft used model of Istanbul as a 'cultural bridge' between East and West, this article shall examine how Turkish cinema of the 1970s drew upon and appropriated elements from US popular culture. While ?eytan has been dismissed by some cultural commentators as derivative plagiarism, this article argues for a more nuanced model of cross-cultural exchange based around dialogue and interaction, attendant to the interstitial relationships through which cultures meet and interact.

1. Defining "the local" in localization or "adapting for whom?" / Andrea Esser -- 2. Transnational Holmes : theorizing the global-local nexus through the Japanese anime Sherlock hound (1984-) / Iain Robert Smith -- 3. The context of localization : children's television in Western Europe and the Arabic-speaking world / Jeanette Steemers -- 4. Audiovisual translation trends : growing diversity, choice, and enhanced localization / Frederic Chaume -- 5. Transformations of Montalbano through languages and media : adapting and subtitling dialect in The terracotta dog / Dionysios Kapsaskis and Irene Artegiani -- 6. Localizing Sesame Street : the cultural translation of the muppets / Aaron Calbreath-Frasieur -- 7. Television formats in Africa : cultural considerations in format localization / Martin Nkosi Ndlela -- 8. Exploring factors influencing the dubbing of TV series into Spanish: key aspects for the analysis of dubbed dialogue / Rocio Banos -- 9. Jerome Bruner and the transcultural adaptation of 1970s Hollywood classics in Turkey / Laurence Raw -- 10. Tracing Asian franchises : local and transnational reception of Hana Yori Dango / Rayna Denison -- 11. Fiction TV formats in Poland : "why bother to adapt?" / Sylwia Szostak -- 12. Analyzing players' perceptions on the translation of video games : assessing the tension between the local and the global concerning language use / Alberto Fernandez Costales -- 13. Glocalization and co-creation : trends in international game production / Miguel A. Bernal-Merino