The Phenomenon of Film Remakes the Movies the Ring and Ringu - Essay Example

?Case Study: Ringu/The Ring Introduction Film remakes have been a popular genre for many filmmakers. Depending on various elements, these remakes were able to recreate the original experience for filmgoers, however, some remakes have failed to gain the same enthusiasm from viewers. In evaluating film remakes, there are different elements which have to be considered. Some of these elements may relate to the technical aspects of the film, and others may relate to the substance and emotive qualities of the remake. This case study will explore, discuss, and critically engage with the phenomenon of film remakes, particularly using the movies The Ring and its original Japanese version, Ringu. It shall discuss the idea of remaking flexibly, choosing to deal with cross-cultural remaking, including substantial elements of film-making. Issues of production, text, reception, and cultural translations shall be considered in this paper. This paper is being undertaken in order to develop a better understanding of film-making and its processes, including its interpretations of materials into various genres, languages, cultures, and conceptualizations. This paper shall first provide a brief comparative summary of both films, and then provide a deeper assessment of the film-making remaking concepts seen and applied in the movies. It shall end its discussion by summarizing and concluding the relevant elements of this analysis. Body Ringu After teenagers watch a tape which is rumoured to be cursed, the teenagers soon die one after another through mysterious circumstances, most common of which is fright. One of these teenagers is the niece of Reiko, an investigative reporter who was then prompted to investigate the story of a mysterious tape which is reportedly killing off anyone who watches it. During her investigation, she discovers that the face of teenagers who have watched the tape have been distorted somewhat. A cabin in the woods is also pictured in the pictures. Reiko proceeds to the cabin and ends up watching the tape herself. Soon after watching , she receives a phone call telling her that she would die in a week. She then seeks the help of her ex-husband Ryuji who also proceeds to watch the video. Her son finds the tape and watches it as well. A copy of the tape was made for them to study. They find a hidden message on the film which leads them to the Izu Oshima Island where they find out that Sadako, who is allegedly committing the murders, was killed by her father. Thinking of appeasing Sadako, they find her watery grave and try to free her vengeful spirit. However Sadako is still very much vengeful and, after tangling with Reiko, falls back into the well. When nothing happens to Reiko, they assume that the curse is broken. This proved to be wrong when the following day, Ryuji is killed by Sadako. Reiko soon finds out that since she made a copy of the film and let her ex-husband watch the movie, she broke the curse for herself. But the curse on her husband was not broken and caused his death. In order to prevent the death of her son, she makes a copy of the movie to pass on. The movie ends then, implying that the cycle, very much like a ring would never end. The Ring In the American version, the story more or less follows the Japanese plot. Minor differences are seen with the characters primarily being American, Rachel matching Reiko’s character; Aidan being Rachel’s son, and Noah, being Rachel’s ex-boyfriend as opposed to ex-husband. Understandably, since the movie is an American interpretation, the island where the images in the cursed film were seen is known as Moesko Island. Sadako’s American counterpart is known as Samara. Analysis In general, the remake primarily proceeded as an Americanization of the Japanese version, from the characters, names, settings, and naturally, the language. On a deeper context, there are other elements of the remaking process which impacted on the movie’s translation and interpretation. There are three important and applicable terms in assessing remakes, and these are: fidelity (how true the remake is to the original); fertility; and localization (Mandiberg, 2009). Fertility is based on the idea that fidelity is impossible, but the interpretation should be based on blending to produce pure language. Localization refers to how the film is tailored to fit the target audience or culture (Mandiberg, 2009). The important consideration which has be accepted for remakes is that perfect translation is impossible, and achieving such would create synonymous work which would not have added anything to the original work. Since perfect translation is actually impossible and pointless to achieve, the translator either chooses fidelity or fertility in the remaking process (Mandiberg, 2009). The remake in both cases is still very much imperfect and not exactly the same as the original. In other words, the remake is sense for sense, not word for word. Even the Roman Cicero, known for translating speeches declares that the purpose of speeches is to delight and to instruct the audience (Mandiberg, 2009). Speeches must therefore be translated to fit the needs of the local population or audience. It is understood within the context of modern translation, that fidelity is difficult to establish. Localization can also be a complicated consideration for film makers who are often prompted to reinterpret the words while seeking to maintain context for the target viewer (Herbert, 2008). This certainly has been the case for the remake of Ringu, where the Japanese version was made to fit an American, or at least an English-speaking audience. Traditionally, the trend for remaking films has mostly leaned towards European films being remade in Hollywood. However in recent years, the remaking trend has now included East Asian films with movies like The Ring, The Grudge, Shall We Dance, The Departed, and many other films (Mandiberg, 2009). The Ring evokes many meanings, mostly implying circularity and recycling. The Japanese film is derived from the 1991 novel by Koji Suzuki of the same title. Various film sequels and prequels were also part of the cinematic work which all tells the tale of a cursed tape (Forrest and Koos, 2002). Ringu was also remade in South Korea and titled Ring Virus. A sequel to the American version of The Ring also followed in 2005, but it was not made under the same context as the Japanese series (Miura, 2008). Some critics point out that American culture is so dominant that it basically seeks to erase any possibly trace of foreign influence in the film they are remaking. These critics also point out that they have been hard put to find any foreign films which lived up the original foreign version (Miura, 2008). In the movie, The Ring, the main focus of the remake is on the translation from the foreign to the American or English context. Although the remake has remained more or less faithful to the Japanese version, there are still other elements which are enough to identify the pattern of Americanization which was imposed on the remake (Miura, 2008). This is not exactly a new phenomenon in foreign films being remade in America. Various critics however are often complaining about the process applied during remakes, which often follows Hollywood standards and imperialistic American ideas (Ozawa, 2006). However, other critics argue that originals and remakes may not resemble each other, however they may present a series of images and words where aesthetic interpretations and cultural transformations take place. According to Forrest and Koos (2002), they believe that value judgments must be abandoned in order to allow the remake and the original film to enrich the cinematic experience. In effect, although there may be cultural transformations seen in the movies Ringu and The Ring, these are transformations and differences which do not detract from the cinematic experience (Forrest and Koos, 2002). The viewer is often not obligated to compare the two movies, however, the experience is fully supported in the establishment of unnecessary elements which one movie can highlight about the other (Eberwein, 1998). Remakes are generally considered from various perspectives – personal, sociocultural, political, and artistic (cinematic). The remake is considered a genre, a film based on another film which is also rich in cinematic qualities. In the remake, The Ring, the cinematic elements of a Hollywood film remake are present, complete with an adaptation of the original Japanese movie and context (Ozawa, 2006). Scholars suggest that there are different types of remakes in Hollywood – disguised, non-remake, and direct remake. Disguised remakes are usually updates of the original film, with minimal changes on the film, and then disguised by new settings and original characters (Miura, 2008). The remake does not seek to draw attention from the earlier version. In direct remakes however, the new film may have some changes and be released with a new title, however, the new film does not hide the fact that it is a remake and that it is based on an original movie (Miura, 2008). For non-remakes, the film usually has the same title and may seem familiar, however, the plot is very much different (Druxman, 1975). The Ring is a direct remake as it is a new film, but it is obviously a remake of an original film. Remakes are also often used in order to profit from the success of the earlier films, using new stars and new technology. Ringu was highly successful in Japan and after it was subtitled and released in the US, it also gained a strong following. Soon enough, Hollywood studios took notice and the remake was then conceptualized. Although the remake seems to desire the replication of the original film’s success, the film-makers were able to focus on the important elements of the film without trading in on the success of the earlier film (Miura, 2008). The remake did not underestimate the elements of the original story elements. Instead, it added more elements to the original movie, most especially in relation to the emotive elements being more patent and compelling. The American remake of foreign films is related to the concept of translation. Based on literary conceptualizations of foreign films, US adaptations build various issues on fidelity, superiority and appropriation. Translation seems to give rise to the concepts of fidelity and betrayal (Miura, 2008). While remaking, the film being remade is required not to destroy the original film, it also calls for the adaptation to be based on the expected target audience. Hollywood’s adaptive process seems to impact on the narrative tone of the story. In effect, the narrative often follows a linear pattern and is based on steady pacing, with an eventual clear resolution of the issues or conflicts (Miura, 2008). The narrative was dynamic in the remake of The Ring as the story is taken back at one point in order to explain the creation of the tape. Nevertheless, the narrative of the film is steady. The resolution is not clear in the end, which is very much in the same vein as the original (Miura, 2008). The Ring represents a cycle, the cycle of watching and then passing on the movie to be seen by other people. There is a cycle which seems to have pervaded the watching of the movie. Where the viewers watch any of the movies, there is a ‘curse’ which unites them with the characters (Miura, 2008). There are significant symbolisms from the movie which highly applies to the contemporary context. Samara/Sadako channels her power through technology, using the TV monitor to access her victims. References to technology are very much apparent in the movie with the use of cameras, TVs, videocassettes, telephones, and other technological hardware within visual access of the viewers (Miura, 2008). The imagery of the movie at the very beginning suggests watery chaos fading into static, imagery which is a strong metaphor for upheaval and the threat of change brought on by information technology and the media-saturated society (Miura, 2008). In both movies, fear comes from the fear of information and of nature. In Ringu, these fears in the end become united (Joo, et.al., 2007). For the US version, both fears are distinguished from each other. This can be seen in the varied depictions of the central villain Samara. In Ringu, the depiction of Sadako has gained popularity among Japanese viewers. The appearance of Samara is emphasized less in the American version. Sadako is a mature 18 year old girl, but Samara is portrayed to be much younger, a little girl even (Ozawa, 2006). They both have long black hair which seems to emphasize the villainy of the character, an imagery which also refers to the image of an avenging spirit in Japanese gothic myths (Ozawa, 2006). For the American version, Samara’s face is always shown, while Sadako’s face is hardly ever seen in the Japanese version. In Ringu, the scene when one of her eyes is shown marks one of the most frightful moments of the movie. The American film-making approach to Samara’s face can be linked with the Western beliefs on identity which highlights the face as the representation of one’s identity (Ozawa, 2006). Ringu’s faceless villain can be seen by other viewers as unreasonable, inexplicable, and beyond representation. But the ghost with a face in the remake is placed in a more realistic context, one which can be understood by the audience and one which can still hold the viewer’s gaze. A major difference between the two movies is also apparent towards the end of the movie where the villain kills the ex-husband/boyfriend. Sadako’s face is still hidden except for her eye, Samara’s face however changes. She seems to have become more mature, not a child anymore. Her face is also asexual, depicting a monstrous Hollywood villain (Ozawa, 2006). The original version portrays the fear of post-human intrusion, the remake seeks to represent Samara to be a post-human cybernetic villain much more vivid than the Japanese version. Sadako/Samara’s movements are also a frightening element to both movies (Ozawa, 2006). Her movements are based on Japanese depictions of ghost and monstrous movements in other Japanese horror films. This depiction originates from the dance performance style Ankoku Butoh or Dance of Darkness (Shen, 2010). This dance style lets the body speak for itself, allowing the body to truly reveal emotions and depth, otherwise rejecting the artifice of daily life and movement. Much emphasis has been indicated on transformations and on how the body can be transformed to portray meaning (Shen, 2010). This type of dance sought to depict decay and darkness, with transmutations made of various forms like insects, animals, and even ghosts. Various Japanese horror films have adopted these movements. For which reason, Butoh trained dancers have often been hired to portray the grotesque horror villains (Shen, 2010). The depictions for the remake and the original indicate the point where the fears are emphasized. In Ringu, fear is based on the animal-likeness of the humans and the personification of revenge through Sadako. In the remake, the element which has a major role in creating fear is the widespread technological aspects in society (Ozawa, 2006). The fear portrayed in the remake is focused on the threat that humans can be transformed into cyborgs. Samara is a product of human and technology. The addition of Samara’s father’s suicide via electrocution indicates the fear and preoccupation with technology (Ozawa, 2006). The basic animalistic qualities of humans is tempered and represented in horses, landscapes, and the ocean. The remake controls bodies and movements and they are also severely domesticated with their materiality discounted. The fluctuation of animal-qualities and technology is seen at various depictions in the two films. The story is very much bound in spatiality as it moves forth within the tension of mobility and immobility (Phillips and Stringer, 2007). Horror films usually have closely related spatiality, as ghosts are omnipresent, and curses can always be identified with a particular location. Ghosts have mobility and are free from temporal restraints, as long as they are in their territory. Moreover, curses or spirits are bound to particular places of objects, or areas where they died or were buried. For the movies, the curse is spread through information technology (Lacefield, 2010). The title is derived from the figure of the well from which the villain emerges; it also depicts the cycle of the curse. Various round images are seen throughout the remake in order to emphasize such cycle. The cycle of mobility is apparent in the road travel taken by the characters, with the struggle of such mobility pitted against immobility (Lacefield, 2010). The remake also depicts the direction of the characters and their movements. As they finally find the well and Samara’s body, no happy ending can still be seen. The curse is unbroken, unless they duplicate the tape (Jenkins, 2006). The end is a beginning, very much like a ring. Conclusion The remake of Ringu succeeded in terms of adapting the story to fit an American audience and culture. The movie seemed to eliminate the idea of physicality in the original movie and replaced these with the use of cybernetic devices. The various elements of the story are perfectly transformed into specific areas in the United States, almost leaving no trace of the original version. It is therefore not surprising that the US fans appreciated the remake more than the original. The remake is favourable because its representations and stories are not based on orientalism. The differences between the two films indicate that the remake stayed within the realm of reason. Beyond such boundaries, the audience may not enjoy the experience. However, the popularity of The Ring in the US also suggests that people fear bodies themselves, not so much the dominance of information technology. The remake more or less stayed faithful to the general plot of the original movie, with some adjustments made based on cultural considerations and target audience. Effective remakes often make adaptations from the original interpretation of the movie. The decisions on aspects for adaptation are mostly based on how the story is to be narrated by the filmmakers. The remake of Ringu is based on physical elements. These physical elements draw from the depictions of movement as is seen in Samara’s animal and grotesque movements. The physical elements are also seen in how Samara’s face is more visible to the audience. In the end, the story is more palatable to an American audience and is very much founded on realistic components. The face and the identity of the villain are visible, and less ambiguous compared to the original version. The ‘horror’ factor is ever-present in the both versions. Failing to show Sadako’s face made the villain very much frightening but also surreal; but for the remake, seeing Samara’s face made her patent and a major presence throughout the film. She was a real and relatable face, but she was also a villainous face. Sadako on the other hand was simply a monster. Seeing her as such, made her less relatable as a human figure. Regardless of these differences in depictions, both movies managed to perfectly scare audiences around the world, and the remake managed to send across the essential message of the filmmakers. Reference Druxman, M., 1975. 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