What happened when Sesame Street and Big Brother were adapted for African audiences? Or when video games Final Fantasy and Assassins' Creed were localized for the Spanish market? Or when Sherlock Holmes was transformed into a talking dog for the Japanese animation Sherlock Hound? Bringing together leading international scholars working on localization in television, film and video games, Media Across Borders is a pioneering study of the myriad ways in which media content is adapted for different markets and across cultural borders. Contributors examine significant localization trends and practices such as: audiovisual translation and transcreation, dubbing and subtitling, international franchising, film remakes, TV format adaptation and video game localization. Drawing together insights from across the audiovisual sector, this volume provides a number of innovative models for interrogating the international flow of media. By paying specific attention to the diverse ways in which cultural products are adapted across markets, this collection offers important new perspectives and theoretical frameworks for studying localization processes in the audiovisual sector. For further resources, please see the Media Across Borders group website (www.mediaacrossborders.com), which hosts a 'localization' bibliography; links to relevant companies, institutions and publications, as well as conference papers and workshop summaries.

What happened when Sesame Street and Big Brother were adapted for African audiences? Or when video games Final Fantasy and Assassins' Creed were localized for the Spanish market? Or when Sherlock Holmes was transformed into a talking dog for the Japanese animation Sherlock Hound? Bringing together leading international scholars working on localization in television, film and video games, Media Across Borders is a pioneering study of the myriad ways in which media content is adapted for different markets and across cultural borders. Contributors examine significant localization trends and practices such as: audiovisual translation and transcreation, dubbing and subtitling, international franchising, film remakes, TV format adaptation and video game localization. Drawing together insights from across the audiovisual sector, this volume provides a number of innovative models for interrogating the international flow of media. By paying specific attention to the diverse ways in which cultural products are adapted across markets, this collection offers important new perspectives and theoretical frameworks for studying localization processes in the audiovisual sector. For further resources, please see the Media Across Borders group website (www.mediaacrossborders.com), which hosts a 'localization' bibliography; links to relevant companies, institutions and publications, as well as conference papers and workshop summaries.

What happens when a film is remade in another national context? How do notions of translation, adaptation and localisation help us understand the cultural dynamics of these shifts, and in what ways does a transnational perspective offer us a deeper understanding of film remaking? Bringing together a range of international scholars, Transnational Film Remakes is the first edited collection to specifically focus on the phenomenon of cross-cultural remakes. Using a variety of case studies, from Hong Kong remakes of Japanese cinema to Bollywood remakes of Australian television, this book provides an analysis of cinematic remaking that moves beyond Hollywood to address the truly global nature of this phenomenon. Looking at iconic contemporary titles such as The Girl with the Dragon Tattoo and Oldboy, as well as classics like La Bete Humaine and La Chienne, this book interrogates the fluid and dynamic ways in which texts are adapted and reworked across national borders to provide a distinctive new model for understanding these global cultural borrowings.

Offering a variety of case studies in which films have been remade across national borders, Transnational Film Remakes provides an analysis of cinematic remaking that moves beyond Hollywood to address the truly global nature of this phenomenon. From Hong Kong remakes of Japanese cinema to Bollywood remakes of Australian television, this book interrogates the fluid and dynamic ways in which texts are adapted and reworked across national borders to provide a distinctive new model for understanding these global cultural borrowings.

This is the uncharted history of Hollywood reworkings from a Turkish Star Trek to a Bollywood Godfather. Did you know that there was a Turkish remake of The Exorcist in which Catholicism was replaced with Islam? Or that in 1966, a film was produced in the Philippines entitled James Batman in which James Bond and Batman team up to fight crime? Or that a Bollywood remake of Memento has been one of the biggest box-office successes in India of all time? The Hollywood Meme is the first comprehensive study of the unlicensed adaptations of American popular culture that appear in national cinema traditions around the world. Tracing the diverse ways in which US films, TV series and comic books have been appropriated and transformed in the film industries of Turkey, India and the Philippines, the book provides a new paradigm for understanding the global impact of Hollywood. It contains twelve detailed case studies including a Turkish reworking of Star Trek titled Turist Omer Uzay Yolunda (1973), a Filipino musical spoof named Alyas Batman en Robin (1993) and a Bollywood remake of The Godfather titled Sarkar (2005). It examines the global phenomenon of unlicensed film adaptations of American popular culture. It provides a historical introduction to the relationship between Hollywood and the popular film industries of Turkey, India and the Philippines. It offers a new methodology for studying film adaptation building upon Richard Dawkins' concept of the 'meme'.

The Hollywood Meme is the first comprehensive study of the transnational adaptations of Hollywood movies that have appeared throughout world cinema. With case studies from the film industries of Turkey, India and the Philippines, Iain Robert Smith shows how reworked versions of Hollywood blockbusters like E.T., The Godfather, Spider-man and Star Wars can complicate prevailing accounts of Hollywood's global impact, and help provide a new model for interrogating transnational flows and exchanges.