MiuraTHESIS

CHAPTER 1: INTRODUCTION....................................................................................... 1

What is a Remake?....................................................................................................... 7

Selecting a Film.......................................................................................................... 10

Using Champoux’s Observational Model to Uncover Cultural Variances

between the Original and Remake............................................................................. 13

Plot Summary of Shall We Dansu? (1996)................................................................ 15

Plot Summary of Shall We Dance? (2004)................................................................ 16

CHAPTER 2: GROUP IMPACT ON INDIVIDUAL BEHAVIORS AND GENDER ROLES.............................................................................................................................. 18

A General Climate of Groupism in Japan and the United States................................ 19

How Characters Reflect Cultural Behaviorial Norms................................................ 22

Sugiyama and John.................................................................................................... 22

Mai and Paulina........................................................................................................ 24

Aoki and Link............................................................................................................. 27

Hattori and Chic........................................................................................................ 28

Tanaka and Vern....................................................................................................... 29

Chikage and Jenna.................................................................................................... 30

Masako and Beverly.................................................................................................. 32

CHAPTER 3: CULTURAL DIFFERENCE IN MARRIAGE....................................... 33

The Norms of Marriage............................................................................................. 34

The Husbands........................................................................................................... 38

The Wives.................................................................................................................. 39

Expressions of Romance and Affection..................................................................... 42

Verbal Communication and the Unspoken Bond...................................................... 45

The Unspoken Bond.................................................................................................. 46

Words Have Value..................................................................................................... 48

CHAPTER 4: PRINCIPLES IN CINEMATIC STYLE.................................................. 51

MA as Cultural Watermark........................................................................................ 53

Intensified Continuity................................................................................................ 55

Acting........................................................................................................................ 56

MA-as-acting: Ambiguous Silence............................................................................. 62

MA-as-acting: Negative Space.................................................................................. 64

Ma-as-acting: Moments of Non-action...................................................................... 65

Composition.............................................................................................................. 66

Editing....................................................................................................................... 69

Conversation Editing................................................................................................. 72

CHAPTER 5: CONCLUSION........................................................................................ 72

BIBLIOGRAPHY............................................................................................................ 75

APPENDIX A: Joseph Champoux’s Observational Method............................................ 88

APPENDIX B: Incarnations of MA................................................................................. 90

APPENDIX C: 180-Degree Rule (Chart)......................................................................... 98

APPENDIX D: 360-degree Shooting Space, the Axis Line, and Conversation Editing... 99

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