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首页> 外文期刊>Global Media and China >Korean–Chinese Film Remakes in a New Age of Cultural Globalisation: Miss Granny (2014) and 20 Once Again (2015) along the Digital Road1:
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Korean–Chinese Film Remakes in a New Age of Cultural Globalisation: Miss Granny (2014) and 20 Once Again (2015) along the Digital Road1:

机译：文化全球化新时代的中韩电影翻拍：《数字之路》中的格兰妮小姐（2014）和《再一次20（2015）》 1：

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Since the early 2000s, the Korean Wave (aka Hallyu) has influenced Greater China in enterprising and complex ways that diverge from the ways in which Hallyu has impacted other markets. At the same time, since China joined the Word Trade Organization in 2001, art, culture and media production have been largely transformed from vehicles for state propaganda into new gateways for producing and showcasing popular commercial entertainment. Korean producers have played a significant role in this evolving transformation, albeit in a cultural space that the Government of Mainland China still uses and shapes as an important mouthpiece of the Party-state. While media headlines accentuate these progressive pathways, there is a dearth of scholarly commentary on the ways in which Korean film practitioners are contributing to this new era of cultural globalisation in China. To shed light on this emerging topic, the authors examine Chinese audiences’ reception of the Korean film Miss Granny (2014) and the most successful Korean–Chinese co-production to date, its Chinese remake 20 Once Again (2015). The article utilises data drawn from Douban, a major Chinese entertainment and popular culture social networking site, to assess the ‘inconspicuous’ impact of the cinematic component of the Korean Wave on Chinese cinema. In taking this approach, the authors seek to assess the importance of localized film content for Chinese audiences, as well as canvassing a range of hitherto unknown opinions about ‘Korean’ and ‘Chinese’ styles of storytelling.
机译：自2000年代初以来，韩流（又名韩流）以进取和复杂的方式影响了大中华地区，不同于韩流对其他市场的影响方式。同时，自2001年中国加入世界贸易组织以来，艺术，文化和媒体生产已从国家宣传工具转变为生产和展示大众商业娱乐的新途径。韩国生产者在这种不断演变的转型中发挥了重要作用，尽管在中国大陆政府仍在使用和塑造其作为党国重要喉舌的文化空间中。尽管媒体头条强调了这些进步的途径，但对于韩国电影从业者如何为中国文化全球化的新时代做出贡献的方式，缺乏学术评论。为了阐明这一新兴话题，作者考察了中国观众对韩国电影《格兰尼小姐》（2014）的接受程度，以及迄今为止最成功的韩中合拍电影，即其中国电影《再一次出现20》（2015）。本文利用从中国主要的娱乐和大众文化社交网站豆瓣中获得的数据，评估了《韩流》电影成分对中国电影的“不起眼”的影响。在采用这种方法时，作者试图评估本地化电影内容对中国观众的重要性，并就“韩国”和“中国”的讲故事风格征询一系列迄今未知的意见。

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