Category: Film Studies


Decomposing the Stereotypes: East-West Dichotomy in the Film Adaptations of W. S. Maugham’s the Painted Veil

William Somerset Maugham’s classical novel The Painted Veil (1925), in which a marital crisis is set against a cholera epidemic in China in the 1920s, and its three Hollywood adaptations (1934, 1957, 2006) feature a confrontation between the East and the West through the interaction between the Westerners, allegedly bringing progressive methods in dealing with


Using the ‘Candle in the Tomb’ Fandom as an Example and Explain Its Associated Behaviours and Values

In recent years, IP films and their fans have received increasing attention. Every film adaptation of an IP work has fans’ support, which actively spreads information. Fans have created their own discourse space in virtual communities, producing a reasonably close-knit social group, thanks to the development of mobile internet technology and the relative democratisation of


Roars and Recuts: A Comparative Analysis of Japanese and American Versions of Godzilla 1954-1962

This presentation explains how various American distribution companies rebranded the first three Japanese films about Godzilla. I propose these examples offer a unique meeting ground between two film industries and their narrative norms. By textual and industrial analysis with examination of marketing, I reveal the extensive modifications of all three films were done pragmatically. American


Kissing Scenes in the Representation of Family in Post-war Japanese Films

Yasujiro Ozu and Mikio Naruse are well-known Japanese filmmakers who depict the “everyday life” (nichijo in Japanese) of family in the post-war period. Their ways of presenting “everyday life” are characterized by the exclusion of violent and sexual expressions. However, exceptionally, there are kissing scenes in their films and they form unusual expressions. Focusing on


Droids and Peasants: Akira Kurosawa’s Thematic Influence on the Star Wars Saga

Following the international success of Rashomon (1950) and Seven Samurai (1954), Akira Kurosawa’s films came to exemplify Japanese cinema to western cinemagoers and had ‘a significant influence on many international auteurs and genres’ (Russell 2011). Most famously, George Lucas admits to basing the storyline for the original Star Wars (1977) upon The Hidden Fortress (1958),


Strength Through Poetry as We Regain Our Balance in the Cinematic COVID Aftermath

Drawing on aforementioned Seamus Heaney and his symbolic reference to a great sea change or tidal wave indicating that a new chapter is about to begin, and “The City” by contemporary writer Ted Hughes ̶ where a life is read like a poem and in fictional dark [Parisian] city centres the writer roams “my own