Chapters in this book

1. Frontmatter i
2. Contents v
3. Illustrations vii
4. Foreword xi
5. Notes on Contributors xiii
6. Introduction: East Asian Film Remakes 1
7. Part I Re-fleshing the Text: Sex, Seduction, Desire
8. Chapter 1 How to Sell a Remake: The Gate of Flesh Media Franchise 27
9. Chapter 2 Against Anaesthesia: An Empty Dream, Pleasurable Pain and the ‘Illicit’ Thrills of South Korea’s Golden Age Remakes 49
10. Chapter 3 Two Faces of Seduction: Martial Heroines and Karmic Women in Chor Yuen’s Intimate Confessions of a Chinese Courtesan and Lust for Love of a Chinese Courtesan 73
11. Chapter 4 Japanese Self-Made Film Remakes as Self-Improvement: Professional Desires and DIY Fulfilment, from Panic High School to Tetsuo 92
12. Part II Serialising Ozu: The Enduring Legacy of a Cinematic ‘Tofu Maker’
13. Chapter 5 Definition and Progression: Ozu Yasujirō’s ‘Noriko Trilogy’ 111
14. Chapter 6 A Remake, But. . .: Media Infantility in Ozu’s Good Morning 124
15. Chapter 7 The Cinema of Serial Vitality: Ozu Yasujirō and Yamada Yoji 140
16. Part III Revisiting Personal/Political Traumas in East Asian Action Films, Gangster Films and Westerns
17. Chapter 8 Opting Out of History: Miike Takashi’s New Graveyard of Honor 157
18. Chapter 9 The Promise of Hokkaidō: Trauma, Violence and the Legacy of the Imperial Frontier in Lee Sang-Il’s Unforgiven 182
19. Chapter 10 Benny Chan’s Connected and the Hollywoodisation of Hong Kong Cinema 200
20. Chapter 11 Vessels and Cargos: Spaces of Inclusion and Exclusion in Johnnie To’s Drug War and Lee Hae-young’s Korean Remake Believer 221
21. Part IV Local Flavours and Transcultural Flows in East Asian Comedies, Dramas and Fantasies
22. Chapter 12 The Power of Healing in Little Forest(s): Cross-Cultural Perspectives on Food, Friendship and Self-identity, from Japan to Korea 239
23. Chapter 13 More than Blue and Man in Love: Transnational Korean-Taiwanese Film Remakes as a Facilitator for Taiwan Cinema 257
24. Chapter 14 The Pan-Asian ‘Miss Granny’ Phenomenon 272
25. Chapter 15 Remaking in the Age of Chthulumedia: Stephen Chow’s The Mermaid 291
26. Index 314