This introductory chapter first sets out the book's purpose, which is to explore an under-studied strain of peripheral and subaltern remaking: Shanghai and Hong Kong remakes of certain Hollywood genre films, and Hong Kong remakes of Shanghai and Hollywood films. It contends that film remaking should not be dismissed as derivative imitation; rather it should be studied as a situation-dependent strategy of negotiation with a cultural and political Other. By tracing the trajectories of cross-Pacific film remaking between Hollywood, Shanghai, and Hong Kong from the 1920s to the present day, the book analyzes the ways in which filmic representation inscribes, intersects with, and reconfigures sociopolitical circumstances. The remainder of the chapter discusses the processes through which a vision or utopia in one film is refigured in its remake(s) and how such refiguration contributes to projecting a new national/regional cinema and location-specific collective consciousness; peripheral subaltern film remaking through the semicolonial lens; and the political efficacy of subaltern film remaking. An overview of the subsequent chapters is also presented.
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