Notice to moviegoers of the improbable, the grotesque and the sublime, the editions Wombat have decided to spoil you by posting NANAR WARS, an anthology of the cinema of the infringement, the Star Wars Turkish the Harry Potter mexican.
At first glance, one could believe that our enjoyment of the viewer comes from a satisfaction of immediate and indisputable in front of the miracles. Before, during and after the session, we dream of the creative gesture masterfully executed, it attempts to decompose it, analyze it, rationalize it. But it is useless, nothing explained fully the magic of a success at the box-office. This attempt of reflection, this desire of appropriation or re-appropriation of images of the big screen, sometimes arises in the absence of a development spiritual satisfactory, some poetry. The documentary’ RAIDERS ! shows us the fascinating example of a band of teenager who is engaged in betting mad to return to Raiders of the Lost Ark for the dialogue and the plan closely, with the means of the board. And the filmmaker Don Siegel himself, stated after having carried out the Invasion of The profaners of tombs, the novel by Jack Finney deserved a new adaptation every year.
Review, redo, rediscover the emotion of the miracle ; Emmanuel Vincenot and Emmanuel Prelle know better than anyone how this thought may turn to the obsession among some producers greedy. God created man, and when man wanted to imitate God, the sacrilege and begat the creature of Frankenstein. Less aesthetic than the man, less graceful, less mature level of finishes. When producers of the brazilian, indian or Turkish play Frankenstein at the box office, this gives substance to the book NANAR WARS – When the large success of Hollywood is to plagiarize.
If Vincenot and Prelle use rightly the term nanar, it is to situate the works studied in a journalistic stance own gender. You can immerse yourself in the spectacle of nanar in adventurer, we explore entire sections of the cinemas, farms forgotten, it lingers in the lands unknown, setting aside the parameters of comfortable good taste, and the establishment cinéphilique. The art of the z series is not worthy to be lived-and as a priesthood, demanding his missionaries that they accept the possibility of discomfort and incongruity abyssal.
In regard to the area highlighted in NANAR WARS, the art of the z series is all the more cruel (and thus, paradoxically, even more tasty) it comes right up to our memory of movie-lovers, by inviting them to the table of the big hollywood blockbusters. I mentioned at the top of the obsession to re-create the gesture lecture of the miracle, one might as well compare the plagiarism film the re-appropriation of a number of magic. Imagine an illusionist broken arm attempts to reproduce it in a cabaret peeling away to reveal, a number of woman cut in two by mimicking approximately the gesture of a magician who impressed in Las Vegas. One can expect that an awkwardness, an error in the exercise of imitation causes an accident appalling, basting then the spectators of the hemoglobin of a poor bimbo guillotined. Hey yes, to enjoy the ripoff (plagiarism nanardesque) at its fair value, it is necessary to have a taste for the unexpected, the unpredictable, the accident. The posters promise a spectacular entertainment worthy of Spielberg or Lucas, and then WHAM ! Accident ; we are left with is a Batman Turkish obsessed sexual, an Indiana Jones mexican décati or a E. T Spanish worthy of a happening Key not at my post.
NANAR WARS is a good idea broken into three parts, each corresponding to a type of icons of the big screen plagiarized according to the modes. In the first part, we find as well the fragrance of the serials and of the band-drawn pulp with good old mugs of Tarzan, King Kong, and Zorro. Always present when you need them, the heroes of the attic of grandpa are roughed in spite of the respect which is their due, by filmmakers opportunistic, as far as the authors of the anthology that taunt him gleefully the glaring gap between the intention to impose an authority and a presence, and the ridiculous end result. And in Zorro Kamcili Süvari, the masked avenger appears to have never been so poorly managed his manhood, and strength of ranting, frankly, retro for to prove that it is a real one, a hard, a mustache in the tanned leather, it fails fatally in the grotesque :
“Once the justice re-established throughout the region, our hero returns to his lair, falls from his horse, handed his boots in cowhide leather and silk scarf, repeigne in front of her mirror, perfume generously, and then goes back to the secret passage to finish off by coming out of the closet, determined never again to let process from lopette.”
The second part of the book is devoted to super-heroes, and would remind those who tried to forget it, as it tries desperately to forget his first binge drinking Malibu pineapple, that super-heroes are not released directly to the thigh of Marvel studios. Our friends in costume flashy, too, have known a teenager to be difficult, a period where their myth was not yet sacralized by Hollywood; as evidenced by the improbable 3 Dev Adam , in which the wrestler Santo (a key figure of mexican popular culture) confronts Captain America and Spider-Man. Finally the truth emerges about the past of the man-spider, which disguises too often the origins ottoman :
“The most disturbing, is the fact that it is grown the mustache under his mask and he shows off eyebrows so bushy that the film seems to be in 3D”.
The third part is probably the most crisp as it travels through the era of blockbusters, the ersatz of the Teeth of the sea (with fish in the ripoff brazilian, excuse me a little) to those of Jurassic Park and Harry Potter. We cannot decently pass over in silence the cornerstone of the project of Vincenot and Prelle, Dünyayi Kurtaran Adam, exhumed by the two friends in 2003 in the journal Filmmakers under the title “Turkish Star Wars, and has since become a cult item among aficionados of the z series. Among the objects of study senior in the colour of this third part, we will remain thoughtful to the case of Kara Simsek, copy Turkish non-compliant Rocky. If the original is a story of self-made man , typically american, its ripoff seems to want to make fire of any wood, mixing the will the triumph of the United States to the national pride of turkey. In this battle of cultural contexts, it is the consistency of the work that ends up K. O :
“This is the final of the European championship, and the organizers have consistently decorated the room of american flags. […] As Serdar wear shorts in the colours of the Spanish flag, the enthusiastic crowd shouts ‘ USA!!! USA!!!”. ”
NANAR WARS is, of course, a book fun-to-eat emergency evening of cockroach. The lawyers will have fun counting the number of possible trials, usually for the flight shameless soundtracks evocative. Other readers will be able to make a game of it to drink by counting the number of times the terms “rubber”, “plastoc” or “polystyrene” are terms used by the two Emmanuel. But beyond the greed that reserve this book bantering never sparing a word game poussifs (Acapulco-lemon ?! Seriously guys, Almanach Vermot 1958 !), it assumes a conclusion regarding the ripoffs. In most of the cases studied, the ridiculous result is not a void left in the scenario, by the scheme of the blockbuster original emptied of its substance, or by the counting of the technical qualities. The effect’s z series is more caused by the confrontation between the most emblematic elements of the model plagiarized and ingredients specific to the cinema operating in different countries. As a result, aberrations such as Shoktir Lorai, the Robocop bangladeshi, qualified by Vincenot and Prelle of “romantic comedy-family-police-of-science-fiction-sung-and-danced”. In the wonderful world of ripoff, we fight, we dance, we gun, we explode and we kiss, in short it goes in all directions for the best and let us rejoice, for the worst.
NANAR WARS – When the large success of Hollywood is to plagiarize, published by Wombat.
Documents color illustration, 160 pages, 19.90 euros.
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