Abstract
Using M. M. Bakhtin’s theories of the grotesque and the chronotope, Raphael analyzes the global movement of King Kong (1933), focusing on unofficial remakes released in East Asia in 1976 and 1977 in attempts to capitalize on the release of King Kong (1976). In particular, he looks at critical responses to the Hong Kong Shaw Brothers’ Xing xing wang (1977) (Mighty Peking Man) illustrating how dismissal of the films on criteria of authenticity and technical prowess overlooked their critique of American military power and subsequent appeal to a variety of marginalized transnational audiences.
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Filmography
A*P*E. Dir. Paul Leder. Kuk Dong, 1976.
Frankenstein Conquers the World (Frankenstein Tai Chitei Kaijū Baragon). Dir. Ishirō Honda. Toho Studios, 1965.
Godzilla, King of the Monsters. Dir. Ishirô Honda. Toho, 1956.
Gojira. Dir. Ishirô Honda. Toho, 1954.
King Kong. Dirs. Merian Cooper, Ernest Schoedsack. Perf. Faye Wray, Robert Armstrong. RKO Radio Pictures, 1933.
King Kong. Dir. John Guillermin. Perf. Jessica Lange, Jeff Bridges, Charles Grodin. Paramount Pictures, 1976.
King Kong. Dir. Peter Jackson. Perf. Naomi Watts, Adrien Brody, Jack Black. Universal Pictures, 2005.
King Kong vs Godzilla (Kingu Kongu Tai Gojira). Dir. Ishirō Honda. Toho Studios, 1963.
Mighty Peking Man. Dir. Ho Meng-hua. Shaw Brothers, 1977.
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Raphael, R. (2016). Planet Kong: Transnational Flows of King Kong (1933) in Japan and East Asia. In: Siddique, S., Raphael, R. (eds) Transnational Horror Cinema. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-58417-5_10
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DOI: https://doi.org/10.1057/978-1-137-58417-5_10
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