Film Sequels: Theory and Practice from Hollywood to Bollywood

By Carolyn Jess-Cooke

The movie sequel has been maligned in pop culture as a vampirish corporative workout in profit-making and narrative regurgitation. Drawing upon quite a lot of examples from early cinema to the twenty-first century, this quantity finds the expanding acclaim for, and experimentation with, movie sequels as a critical dynamic of Hollywood cinema. Now creeping into international cinemas and self reliant movie fairs, the sequel is repeatedly hired as a motor vehicle for cross-cultural discussion and as a constitution during which thoughts and cultural narratives might be circulated throughout geographical and ancient destinations. This publication goals to account for a few of the significant serious contexts in which sequelisation operates by means of exploring sequel creation past field workplace figures. Its account levels from sequels in contemporary mainstream cinema, art-house and 'indie' sequels, non-Hollywood sequels, the consequences of the family industry on sequelisation, and the influence of the game on Hollywood.

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Audiences are alerted to those probabilities for destiny film episodes through cliffhangers or different gestures in the direction of continuation, and may be able to entry the bigger international strategy of ‘media convergence’,31 wherein games, on-line gaming websites and message forums make the sequel to be had for either dialogue and repetitive interactive engagement. yet, as Henry Jenkins places it, ‘fans lack direct entry to the technique of advertisement cultural creation and feature in basic terms the main restricted assets with which to influence leisure industry’s decisions’. 32 Jenkins’s later dialogue of ‘participatory tradition’ issues to tendencies and media practices which ‘encourage the flow of pictures, principles and narratives throughout a number of media channels and insist extra lively modes of spectatorship’. 33 Correspondingly, the sequel’s modes of allusion and reflection not just create a ‘flow’ of time-honored photos, rules and narratives, but also inspire the dialogue and re-interpretation of those in any respect introduction eleven degrees of client tradition. the place spectatorial interactivity comes into complete effect within the sequel is chiefly on the point of attractive with a textual content that looks unfixed end result of the incidence of many open-endings, re-interpretations and repetitions. even though business construction is never (if ever) affected by means of fan job, the creation of the sequel as an interactive textual content is created through constructing tools of textual interpretation and transformation. sequels and globalisation The above works less than the belief that every one sequels are made in Hollywood, yet this isn't consistently the case. Sequels are quickly and furiously changing into average occurrences open air Hollywood. Bollywood – the identify given to Indian cinema often, yet which strictly refers basically to the Hindi film dependent in Mumbai – offers a outstanding instance of this. as soon as a great deal a culturally specific undefined, Bollywood has lately tested a movement in the direction of a ‘new internationalism’ together with stabs at sequelisation. In 2006 by myself, Bollywood sequels comprise Dhoom 2 (Sanjay Gadhvi, 2006), the sequel to Dhoom (Sanjay Gadhvi, 2004), Rakesh Roshan’s Krrish (2006), which follows his past Koi . . . Mil Gaya (2003), Lage Raho Munna Bhai (Rajkumar Hirani, 2006), which keeps on from the place Munnabhai MBBS (Rajkumar Hirani, 2003) left off, and Phir Hera Pheri (Neeraj Vora, 2006), half of Priyadarshan’s Hera Pheri (2003). formerly perceived as box-office poison, those sequels have loved great box-office luck with Bollywood audiences yet, extra importantly, are saturated with the hallmarks of Hollywood blockbusters, reminiscent of higher budgets, the looks of Bollywood megastars, and ‘babes, boys, and bikes’34 – ostensibly in anticipation of a profitable worldwide reception. For the main half, in spite of the fact that, Bollywood’s circulate in the direction of sequelisation seems inexplicable. As one of many world’s biggest film industries, Bollywood is perpetuated and supported via a faithful family fan base. As Faiza Hirji reviews, ‘roughly ten million humans an afternoon buy tickets to determine a Bollywood motion picture, and a few of those will go back many times [commonly ten to fifteen instances] to view a favorite motion picture.

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