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If Hercule Poirot spoke Japanese: a cross-border adaptation of Agatha Christie’s novels

Dr Serena Formica The University of Derby s.formica@derby.ac.uk. If Hercule Poirot spoke Japanese: a cross-border adaptation of Agatha Christie’s novels . A Transnational Cinema . Scholars agree that Is made by transnational filmmakers has transnationalism as its object Characteristics

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If Hercule Poirot spoke Japanese: a cross-border adaptation of Agatha Christie’s novels

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  1. Dr Serena Formica The University of Derby s.formica@derby.ac.uk If Hercule Poirot spoke Japanese: a cross-border adaptation of Agatha Christie’s novels

  2. A Transnational Cinema Scholars agree that • Is made by transnational filmmakers • has transnationalism as its object Characteristics • it works across borders • it both pre-supposes national cinema • and transcends it • it lies at the intersection between the global and the local

  3. ‘Transnational cultural flows neither fully displace nationally delineated boundaries, thoughts, and feelings, nor do they underestimate the salience of the nation-state in the process of globalisation. Rather, it might more often than not be the case that “the transnational has not so much displaced the national as resituated it and thus reworking its meanings (Rouse 1995, 380).” ’ (Iwabuchi, 2002, 17)

  4. But this is not the end of the story… Distinction among • transnational cinema • transnational films • transnational filmmakers in order to have transnational cinema, it is necessary to have either a transnational filmmaker or a transnational film. It is possible to have transnational cinema when a film’s content is transnational even if the filmmaker is not transnational • Applying these criteria, it would seem that No Meitantei Poirot is not a transnational series…

  5. Anime Poirot voiced by Kōtarō Satomi Kōtarō Satomi David Suchet as Poirot

  6. No Meitantei Poirot Japanese elements Western elements • Voice actors   • Titles • Body language • Settings • Production design • Clothing

  7. ‘Although globalisation perspectives surely complicate the straightforward argument for the homogenization of the world based on Western modernity, the arguments for transculturation, heterogenisation [and] hybridisation […] are predominantly studied in terms of how the Rest resists, imitates, or appropriate the West.’ (Iwabuchi, 2002, 49)

  8. No Meitantei as an adaptation According to Hutcheon a good adaptation • has to be recognizable as having a relation with the original • has to function as a standalone text for audiences who do not know the original text.

  9. ‘[Shojo means] “little female”, and originally referred to girls around the ages of 12 and 13. Over the last couple of decades, however, the term has become a shorthand for a certain kind of liminal identity between child and adult’ (Napier, 2005, 148)

  10. Rural England in No Meitantei Poirort

  11. No Meitantei Poirot to Marpleas a transnational cultural product • it completely displaces a quintessentially British and western fictional world. • Agatha Christie’s universe in No Meitantei: • an animated world • the characters speak • bow to each other • have to deal with the coming-of-age of a rebellious girl • and with the whims of a kawaii (cute) duck pet Japanese 日本の

  12. References • Ezra, Elizabeth and Rowden, Terry (eds), Transnational Cinema. The Film Reader, London and New York: Routledge, 2006, ‘Introduction’. • Formica, Serena, Peter Weir. A Creative Journey from Australia to Hollywood, Bristol: Intellect Books, 2012. • Goldsmith and O'Regan, ‘The Policy Environment of the Contemporary Film Studio’, in Greg Elmer and Mike Gasher (eds), Contracting out Hollywood. Runaway Productions and Foreign Location Shooting, Lanham, MD: Rowan & Littlefield, 2005 • Hutcheon, Linda. A Theory of Adaptation, London: Routledge, 2006. • Iwabuchi, Koichi, Recentering Globalisation. Popular Culture and Japanese Transnationalism, Durham and London: Duke University Press, 2002 • Napier, Susan, Anime. From Akira to Howl's Moving Castle, New York: Palgrave, McMillan, 2005. • Turner, Graeme, Understanding Celebrity, London and Los Angeles: Sage, 2010. Television • “The Jewel Robbery at the Grand Metropolitan ”,Dir. Ken Grieve. Agatha Christie’s Poirot, ITV. LTW, London, 7 Mar 1993. Anime • “No Meitantei Poirot to Marple”, Dir. Takahashi Naohito, NHK. OLM, Japan, Jul 4 – May, 15 2005. • “The story of Perrine” (orig. tit. PeriinuMonogatari), Dir. Hiroshi Saitô and Shigeo Koshi, Nippon Animation Co., Japan, January 1, 1978 – December 31, 1978 • “Heidi”, (orig. tit. Arupusu no shôjoHaiji), Dir. Isao Takahata, Zuiyo, Fuji Television Network, ZweitesDeutschesFernsehen (ZDF), January 6, 1974 – December 29, 1974 Arigato Gozaimasu!!!

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