Glocalization as the Defining Trait of Transcultural Remakes in Tel-evision
Abstract In the current «Golden Age» of television, transcultural remakes of scripted formats are becoming increasingly more prevalent on television screens all over the world. In spite of this, this phenomenon has yet to be examined from a theoretical perspective. Therefore, the aim of this study is to approach the notion of remake (and, more specifically, of transcultural remakes in television) from a conceptual standpoint. First of all, in order to explore the nature of remakes, it is deemed necessary to review existing bibliography in the field of cinematic remakes, where the term first appeared. With the goal of establishing a more comprehensive view of this concept, the theoretical findings are combined with interviews with television screenwriters, producers and executives, who provide a more practical point of view of the ways in which the term remake is used within the industry. Secondly, this article offers a review of different typologies and categorizations of remakes, highlighting the specificity of transcultural remakes in television. Lastly, this research manages to prove that the process of glocalization (that is, the dialogue between the global and local components of any given television format) emerges as a defining trait of this distinctive form of adaptation.
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Ross Altarac, S. (2008). Globalization of media: What’s adaptation got to do with it? Conference paper presented at the annual convention of the National Communication Association, San Diego, CA.
Bazin, A. (1990). A favor de un cine impuro. Defensa de la adaptación, en ¿Qué es el cine? Madrid: Ediciones Rialp, 101-127.
Beeden, A., & De Bruin, J. (2010). The Office: Articulations of National Identity in Television Format Adaptation. Television & New Media, 11(1), 3-19.
Benjamin, W. (2002). The Storyteller: Observations on the Works of Nikolai Leskov. En Selected Writings, Volume 3, 1935-1938. Cambridge, MA: Harvard University Press, 143-166.
Braudy, L. (1998). Afterword: rethinking remakes. Play it again, Sam: retakes on remakes, 327-334.
Cascajosa Virino, C. (2005). El remake cinematográfico y la comunicación intercultural. Razón y palabra, 44. Referencia: http://www.razonypalabra.org.mx/anteriores/n44/ccascajosa.html
Cascajosa Virino, C. (2006a). El espejo deformado: Una propuesta de análisis del reciclaje en la ficción audiovisual norteamericana. Revista Latina de Comunicación Social, 61.
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Chicharro Merayo, M. M. (2011). Historia de la telenovela en España: aprendizaje, ensayo y apropiación de un género. Communication & Society, 24(1), 189-216.
Cunningham, S., Jacka, E., & Sinclair, J. (1998). Global and regional dynamics of international television flows. Electronic Empires: Global Media and Local Resistance. London: Arnold, 177-192.
Druxman, M. B. (1975). Make it again, Sam: a survey of movie remakes. New York: A.S. Barnes.
Eberwein, R. (1998). Remakes and cultural studies. Play it again, Sam: retakes on remakes, 15-33.
Forrest, J., & Koos, L. R. (eds.). (2002). Dead ringers: the remake in theory and practice. SUNY Press.
Forrest, J., & Martínez, S. (2015). Remapping socio-cultural specificity in the American remake of The Bridge. Continuum, 29(5), 718-730.
García-Noblejas, J. J. (1982). Poética del texto audiovisual: Introducción al discurso narrativo de la imagen. Pamplona: EUNSA.
Gil, S. (2014). A Remake by Any Other Name. Use of a Premise Under a New Title. Remake Televi-sion: Reboot, Re-Use, Recycle. Lexington Books, 21-36.
Greenberg, H. R. (1998). Raiders of the lost text: Remaking as contested homage in Always. Play it Again, Sam: Retakes on Remakes, 115-130.
Heinze, R. & Krämer, L. (eds.) (2015). Remakes and Remaking: Concepts, Media, Practices. Bielefeld: Transcript Verlag.
Hepp, A. (2015). Transcultural Communication. Oxford: Wiley Blackwell.
Horton, A., & McDougal, S. Y. (1998). Play it again, Sam: retakes on remakes. University of California Press.
Hutcheon, L. (2006). A theory of adaptation. Routledge.
Jensen, P. M. (2007). Television Format Adaption in a Transnational Perspective: An Australian and Danish Case Study (tesis doctoral, Aarhus University).
Jensen, I. K. (2012-2013). The Nordic welfare model makes good TV, Nordvision Annual Report 2012-2013, 24-25.
Knox, S. (2013). Reflection iii: transnationalisation, television formats and the universal. Critical Studies in Television: The International Journal of Television Studies, 8(2), 104-106.
Lavigne, C. & Marcovitch, H. (eds.) (2011). American Remakes of British Television: Transformations and Mistranslations. Lexington Books.
Lavigne, C. (ed.) (2014). Remake Television: Reboot, Re-Use, Recycle. Lexington Books.
Leitch, T. M. (1990). Twice-told tales: The rhetoric of the remake. Literature/Film Quarterly, 18(3), 138-149.
Loock, K., & Verevis, C. (2012). Introduction: Remake| Remodel. Film Remakes, Adaptations and Fan Productions. Palgrave Macmillan, 1-15.
Marcovitch, H. (2014). Multiverses and Multiversions. Meditations on the Rebootings of Fringe. Remake Television: Reboot, Re-Use, Recycle. Lexington Books, 53-64.
Mazdon, L. (2013). Remakes, Sequels and Prequels, en Oxford Bibliographies (Cinema and Media Studies). Referencia: http://www.oxfordbibliographies.com/view/document /obo-9780199791286/obo-9780199791286-0128.xml
Mills, B. (2012). American Remake – Shudder, Life on Mars: From Manchester to New York. Cardiff: University of Wales Press, 133-144.
Moran, A. (1998). Copycat television: Globalisation, program formats and cultural identity. Luton: University of Luton Press.
Moran, A., & Malbon, J. (2006). Understanding the global TV format. Bristol: Intellect Books.
Moran, A. (2009). New flows in global TV. Bristol: Intellect Books.
Moran, A. y Keane, M. (eds.) (2010). Cultural Adaptation. New York: Routledge.
Olivares, J. (2015). Master Class impartida en el Máster de Guion Audiovisual de la Universidad de Navarra. Pamplona, 6 de noviembre de 2015.
Perkins, C., & Verevis, C. (eds.) (2015). Transnational television remakes. Continuum: Journal of Media & Cultural Studies, 29(5).
Proctor, W. (2014). Interrogating The Walking Dead: Adaptation, Transmediality and the Zombie Matrix. Remake Television: Reboot, Re-Use, Recycle. Lexington Books, 5-20.
Real Academia Española (RAE). Definición de remake. Referencia consultada: http://buscon.rae.es/dpd/?key=remake&origen=REDPD
Robertson, R. (1995). Glocalization: Time-space and homogeneity-heterogeneity. Global modernities, 25-41.
Rohn, U. (2011). Lacuna or Universal? Introducing a new model for understanding cross-cultural audience demand. Media, Culture & Society, 33(4), 631-641.
Bazin, A. (1990). A favor de un cine impuro. Defensa de la adaptación, en ¿Qué es el cine? Madrid: Ediciones Rialp, 101-127.
Beeden, A., & De Bruin, J. (2010). The Office: Articulations of National Identity in Television Format Adaptation. Television & New Media, 11(1), 3-19.
Benjamin, W. (2002). The Storyteller: Observations on the Works of Nikolai Leskov. En Selected Writings, Volume 3, 1935-1938. Cambridge, MA: Harvard University Press, 143-166.
Braudy, L. (1998). Afterword: rethinking remakes. Play it again, Sam: retakes on remakes, 327-334.
Cascajosa Virino, C. (2005). El remake cinematográfico y la comunicación intercultural. Razón y palabra, 44. Referencia: http://www.razonypalabra.org.mx/anteriores/n44/ccascajosa.html
Cascajosa Virino, C. (2006a). El espejo deformado: Una propuesta de análisis del reciclaje en la ficción audiovisual norteamericana. Revista Latina de Comunicación Social, 61.
Cascajosa Virino, C. (2006b). El espejo deformado. Versiones, secuelas y adaptaciones en Hollywood. Sevilla: Universidad de Sevilla.
Chicharro Merayo, M. M. (2011). Historia de la telenovela en España: aprendizaje, ensayo y apropiación de un género. Communication & Society, 24(1), 189-216.
Cunningham, S., Jacka, E., & Sinclair, J. (1998). Global and regional dynamics of international television flows. Electronic Empires: Global Media and Local Resistance. London: Arnold, 177-192.
Druxman, M. B. (1975). Make it again, Sam: a survey of movie remakes. New York: A.S. Barnes.
Eberwein, R. (1998). Remakes and cultural studies. Play it again, Sam: retakes on remakes, 15-33.
Forrest, J., & Koos, L. R. (eds.). (2002). Dead ringers: the remake in theory and practice. SUNY Press.
Forrest, J., & Martínez, S. (2015). Remapping socio-cultural specificity in the American remake of The Bridge. Continuum, 29(5), 718-730.
García-Noblejas, J. J. (1982). Poética del texto audiovisual: Introducción al discurso narrativo de la imagen. Pamplona: EUNSA.
Gil, S. (2014). A Remake by Any Other Name. Use of a Premise Under a New Title. Remake Televi-sion: Reboot, Re-Use, Recycle. Lexington Books, 21-36.
Greenberg, H. R. (1998). Raiders of the lost text: Remaking as contested homage in Always. Play it Again, Sam: Retakes on Remakes, 115-130.
Heinze, R. & Krämer, L. (eds.) (2015). Remakes and Remaking: Concepts, Media, Practices. Bielefeld: Transcript Verlag.
Hepp, A. (2015). Transcultural Communication. Oxford: Wiley Blackwell.
Horton, A., & McDougal, S. Y. (1998). Play it again, Sam: retakes on remakes. University of California Press.
Hutcheon, L. (2006). A theory of adaptation. Routledge.
Jensen, P. M. (2007). Television Format Adaption in a Transnational Perspective: An Australian and Danish Case Study (tesis doctoral, Aarhus University).
Jensen, I. K. (2012-2013). The Nordic welfare model makes good TV, Nordvision Annual Report 2012-2013, 24-25.
Knox, S. (2013). Reflection iii: transnationalisation, television formats and the universal. Critical Studies in Television: The International Journal of Television Studies, 8(2), 104-106.
Lavigne, C. & Marcovitch, H. (eds.) (2011). American Remakes of British Television: Transformations and Mistranslations. Lexington Books.
Lavigne, C. (ed.) (2014). Remake Television: Reboot, Re-Use, Recycle. Lexington Books.
Leitch, T. M. (1990). Twice-told tales: The rhetoric of the remake. Literature/Film Quarterly, 18(3), 138-149.
Loock, K., & Verevis, C. (2012). Introduction: Remake| Remodel. Film Remakes, Adaptations and Fan Productions. Palgrave Macmillan, 1-15.
Marcovitch, H. (2014). Multiverses and Multiversions. Meditations on the Rebootings of Fringe. Remake Television: Reboot, Re-Use, Recycle. Lexington Books, 53-64.
Mazdon, L. (2013). Remakes, Sequels and Prequels, en Oxford Bibliographies (Cinema and Media Studies). Referencia: http://www.oxfordbibliographies.com/view/document /obo-9780199791286/obo-9780199791286-0128.xml
Mills, B. (2012). American Remake – Shudder, Life on Mars: From Manchester to New York. Cardiff: University of Wales Press, 133-144.
Moran, A. (1998). Copycat television: Globalisation, program formats and cultural identity. Luton: University of Luton Press.
Moran, A., & Malbon, J. (2006). Understanding the global TV format. Bristol: Intellect Books.
Moran, A. (2009). New flows in global TV. Bristol: Intellect Books.
Moran, A. y Keane, M. (eds.) (2010). Cultural Adaptation. New York: Routledge.
Olivares, J. (2015). Master Class impartida en el Máster de Guion Audiovisual de la Universidad de Navarra. Pamplona, 6 de noviembre de 2015.
Perkins, C., & Verevis, C. (eds.) (2015). Transnational television remakes. Continuum: Journal of Media & Cultural Studies, 29(5).
Proctor, W. (2014). Interrogating The Walking Dead: Adaptation, Transmediality and the Zombie Matrix. Remake Television: Reboot, Re-Use, Recycle. Lexington Books, 5-20.
Real Academia Española (RAE). Definición de remake. Referencia consultada: http://buscon.rae.es/dpd/?key=remake&origen=REDPD
Robertson, R. (1995). Glocalization: Time-space and homogeneity-heterogeneity. Global modernities, 25-41.
Rohn, U. (2011). Lacuna or Universal? Introducing a new model for understanding cross-cultural audience demand. Media, Culture & Society, 33(4), 631-641.
Garcia Avis, I. (2017). Glocalization as the Defining Trait of Transcultural Remakes in Tel-evision. Fonseca, Journal of Communication, 14(14), 91–111. https://doi.org/10.14201/fjc20171491111
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