In Kung Fu Hustle, satirizing genres includes references to U.S. films such as Spiderman, Batman, The Shining, slapstick comedy, musical, western and several references to The Matrix films. Sing’s cowboy/outlaw image parodies U.S. westerns. The high-speed road-runner style chase juxtaposes the bicycle sequence in Buster Keaton’s Sherlock, Jr. (1924) and animation since this comedic scene combines the suspension of natural law found in both silent slapstick comedy and film animation.
http://www.bbc.co.uk/bbcfour/cinema/features/asian-invasion2.shtml
http://film.guardian.co.uk/features/featurepages/0,4120,1680108,00.html#article_continue
http://koreanfilm.org/
(From Jonathan Ross article; "Korean popular culture, for reasons unknown to me, had suddenly become not only the hottest thing in Asia, but western critics were starting to sing its praises as well.")
http://www.asianfilms.org/index.html
Kill Bill and postmodernism: http://www.boxofficeprophets.com/hyde/killbill.asp
http://www.brns.com/pages4/killbill4.html
From: The Pocket Essential Film Studies; Andrew M. Butler 2005
Trafalgar Square Publishing
"Japanese cinema is partially made in a different way from Western cinema, or at least it looks and feels very different from Classical Hollywood since it doesn't fetishise continuity editing. At the same time, the cinema is held to be very representative of the Japanese character - and a recurring theme is the fallout of the first atom bombs to be used in war. Most of the movies that have come from Japan have effectively been placed within the art cinema category, given that the aesthetics are thought to be so different; Hiroshima, Mon Amour (1959) offers a co-production with Alain Resnais of the French New Wave, and a meditation on the consequences for the individual of the Second World War. The same anxities can be seen in the various Godzilla movies and arguably Akira (1988), the breakthrough anime, and Shinya Tsujamoto's wonderful cyperpunk nightmare Tetsuo (1991).
The four big names of Japanese cinema are Yasujiro Ozu (Tokyo Monogatari, Tokyo Story, 1952), Kenji Mozoguchi (Saikuku Ichidai Onna, The Life of Oharu, 1952), Akira Kurosawa (Shichinin No Samurai, Seven Samurai, 1954) and Nagisa Oshima (Ai No Corrida, In The Realm Of The Senses, 1976).
--http://www.bfi.org.uk/filmtvinfo/publications/16+/pdf/remakes.pdf
A remake is a film that stands in a pronounced intertextual relationship with an earlier film, highlighting the element of reproduction inherent in Hollywood cinema. While clearly inter-related to its source film the remake will often differentiate itself in terms of variation and revision of narrative or even genre. THE SEVEN SAMURAI (Akira Kurosawa, 1954) has been remade as a western – THE MAGNIFICENT SEVEN (John Sturges, 1960) – and sci-fi fantasy – BATTLE BEYOND THE STARS (Jimmy Murakami, 1980). This relationship between remake and original may in fact go no further than a form of loose inspiration.
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