As i was growing up, watching movies at least once a week on the television became a routine. I’ve watched movies of various productions that are in different languages that includes English, Mandarin, Cantonese and some Malay films as i grew up in Malaysia. We had many varieties of the type of movies that are broadcasted in different channels. (Perks of being multilingual) From Hollywood blockbusters to Korean dramas to Hong Kong actions movies, I’ve seen most of it to be able to deduce that cultural crossovers and similarities are present in some of the films. This happened recently and simultaneously with the emergence of globalisation.
According to Khorona, crossover cinema is described as “an emerging form of cinema that crosses cultural borders at the stage of conceptualisation and production and hence manifests a hybrid cinematic grammar at the textual level, as well as crossing over in terms of its distribution and reception.” (2014) Globalisation has allowed the cultural mix to occur in the world’s cinema. This can be seen through the similar storyline or the other version of the film in a completely different language by other film industries. In this case, the movie called Shutter was originally a Thai horror film that was broadcasted in 2004 was remade in English in 2008 and in Hindi in 2010.
The remake of the film in different countries in different language allows worldwide views and it’s definitely plays a better role than just reading off the subtitles. Just like Hollywood films that crosses national boundaries to be broadcasted to other countries all around the world, other film industries does the same too. This crossing over also reinforces the point where it allows viewers all around the world to understand and perceive one’s culture and also it’s differences. For example, as we all should know now that Slumdog Millionaire is assimilated from a reality TV show called Who wants to be a millionaire
Khorana, S 2013, ‘Crossover Cinema: A Genealogical and Conceptual Overview’, Producing a Hybrid Grammar, pp. 1-7.