From the global perspective, remakes of foreign movies are of concern in that what is made is not merely a story, but a whole host of cultural signifiers (Schneider, 2002). The accelerating interest of Hollywood studios in East Asian blockbuster remakes, and their recent successes,
has prompted Hollywood to widely expand its horizon in the East and also has raised global awareness of East Asian talents. More importantly, despite the film remake business being economically driven, it has inevitably evolved the discussion on the changing dynamic of American film hegemony
under the weight of global information flow. This paper begins by clarifying what is meant by a movie remake and providing examples of recent Hollywood remakes of East Asian movies. Three films will then be evaluated and synopsized to reveal key socio-cultural aspects of East Asian cinema.
Through a globalization discourse, this paper sets out to illustrate the danger of cultural reinvasion to the Asian popular culture industry.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.