{"id":531,"date":"2014-03-31T06:45:34","date_gmt":"2014-03-31T06:45:34","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/mediatico\/?p=531"},"modified":"2017-06-12T12:02:53","modified_gmt":"2017-06-12T12:02:53","slug":"transnational-film-remakes-las-casa-muda-and-silent-house","status":"publish","type":"post","link":"https:\/\/reframe.sussex.ac.uk\/mediatico\/2014\/03\/31\/transnational-film-remakes-las-casa-muda-and-silent-house\/","title":{"rendered":"Transnational Film Remakes: LA CASA MUDA and SILENT HOUSE"},"content":{"rendered":"<p><em>Today, <\/em>Medi\u00e1tico<em> presents an entry by one of its co-editors <a href=\"http:\/\/www.sussex.ac.uk\/profiles\/183852\" target=\"_blank\" rel=\"noopener noreferrer\">Catherine Grant<\/a>, Senior Lecturer in Film Studies at the University of Sussex. It consists of a\u00a0 videographic film study she made to accompany a presentation she gave on the 2010 Uruguayan film <\/em>La casa muda\/The Silent House<em>, directed by Gustavo Hern\u00e1ndez and its U.S. remake <\/em>Silent House<em>, directed by Chris Kentis\/Laura Lau in 2011, at a recent Society for Cinema and Media Studies 2014 conference panel on Transnational Film Remakes.<\/em><\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/89730868?title=0&amp;byline=0&amp;portrait=0\" width=\"420\" height=\"236\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: center;\"><a href=\"http:\/\/vimeo.com\/89730868\">Single Take Horror Film Mutations<\/a> by <a href=\"http:\/\/vimeo.com\/filmstudiesff\">Catherine Grant<\/a><\/p>\n<blockquote><p><em>Presentation Abstract:<\/em><\/p>\n<p>Low budget horror filmmakers have, on occasion, achieved international prominence for their films through their creative use of \u201cextreme realist\u201d production gimmicks. The found footage and POV photography conceits of <em>Cannibal Holocaust<\/em> (Deodato, Italy, 1980), <em>The Blair Witch Project<\/em>\u00a0 (S\u00e1nchez\/Myrick, U.S.A., 1999), <em>[REC]<\/em> (Balaguer\u00f3\/Plaza, Spain, 2007), its American remake <em>Quarantine<\/em> (Dowdle, 2008), and <em>Paranormal Activity<\/em> (Peli, U.S.A., 2007) not only generated actual production constraints which helped to forge spectatorially appealing levels of cinematic intensity, as well as novel film marketing hooks. They also proved to be highly translatable, apt for transnational remaking, seriality and recirculation as part of what Hunt and Leung have called the \u201cmutating currencies of transnationality.\u201d (Leon Hunt and Leung Wing-Fai (eds.), <em>East Asian Cinemas: Exploring Transnational Connections on Film<\/em> [London: I.B. Tauris, 2008]: 5).<\/p>\n<p>My presentation will think through some aspects of the transnational translatability of the low-budget, production gimmick horror-film by exploring a recent, sub-generic instance of it: the faux \u201csingle take\u201d horror<em> La casa muda<\/em> (Hern\u00e1ndez, Uruguay, 2010) and its U.S. remake <em>Silent House<\/em> (Kentis\/Lau, 2011). The Uruguayan film (\u201cbased on a true story\u201d) achieved international salience by successfully translating the unusual production, \u201ctwist narrative\u201d and marketing techniques of earlier U.S. films such as <em>Rope<\/em> (Hitchcock, 1948), and <em>The Circle<\/em> (Zeltser, 2005), in its take on the \u201cuncanny house\u201d story, an important South American (as well as transnational) \u201cfoundational fiction\u201d (Sommer, 1991). How did this high-concept film (tagline: \u201cMiedo real en tiempo real\u201d\/\u201cReal fear in real time\u201d) come to be such a desirable property that a licensed U.S. remake was released within a year? And what are the consequences of such a rapid turnover.<\/p><\/blockquote>\n<p>Also see on <em>La casa muda<\/em>:<\/p>\n<ul>\n<li>David Martin-Jones and Maria Soledad Monta\u00f1ez, &#8220;What is the \u201cSilent House\u201d? Interpreting the international appeal of Tokio Films\u2019 Uruguayan horror <i>La casa muda\/The Silent House<\/i> (2010),&#8221; Forthcoming<em>.<\/em><\/li>\n<li>Victoria Ruetalo, &#8220;&#8221; in Rosana D\u00edaz and Patricia Tom\u00e9 (eds), <em>Horrof\u00eclmico. Aproximaciones al cine de terror en Latinoam\u00e9rica y el Caribe<\/em> (2012)<\/li>\n<\/ul>\n<p><em>Further reading on Uruguayan cinema:<\/em><\/p>\n<ul>\n<li><a href=\"http:\/\/eprints.gla.ac.uk\/view\/author\/19347.html\">Martin-Jones, D.<\/a>, and Montanez, M.S. (2013) <a href=\"http:\/\/eprints.gla.ac.uk\/76556\/\"><em>Personal museums of memory: the recovery of lost (national) histories in the Uruguayan Documentaries Al pie del \u00e1rbol blanco and El c\u00edrculo.<\/em><\/a> <a href=\"http:\/\/eprints.gla.ac.uk\/view\/journal_volume\/Latin_American_Perspectives.html\">Latin American Perspectives<\/a>, 40 (1). pp. 73-87.<\/li>\n<li><a href=\"http:\/\/eprints.gla.ac.uk\/view\/author\/19347.html\">Martin-Jones, D.<\/a>, and Montanez, M.S. (2013) <a href=\"http:\/\/eprints.gla.ac.uk\/87637\/\"><em>Afterthoughts on auto-erasure.<\/em><\/a> <a href=\"http:\/\/eprints.gla.ac.uk\/view\/journal_volume\/Cinema_Journal.html\">Cinema Journal<\/a>, 53 (1). ISSN 0009-7101<\/li>\n<li><a href=\"http:\/\/eprints.gla.ac.uk\/view\/author\/19347.html\">Martin-Jones, D.<\/a>, and Montanez, M.S. (2013) <a href=\"http:\/\/eprints.gla.ac.uk\/87295\/\"><em>Uruguay disappears: small cinemas, control Z films, and the aesthetics and politics of auto-erasure.<\/em><\/a> <a href=\"http:\/\/eprints.gla.ac.uk\/view\/journal_volume\/Cinema_Journal.html\">Cinema Journal<\/a>, 53 (1). pp. 26-51. ISSN 0009-7101 (doi:<a href=\"http:\/\/dx.doi.org\/10.1353\/cj.2013.0064\">10.1353\/cj.2013.0064<\/a>)<\/li>\n<li>Montanez, M.S., and <a href=\"http:\/\/eprints.gla.ac.uk\/view\/author\/19347.html\">Martin-Jones, D.<\/a> (2012) <a href=\"http:\/\/eprints.gla.ac.uk\/76605\/\"><em>(Des) localizando el cine Uruguayo\/(Dis) locating Uruguayan cinema.<\/em><\/a> <a href=\"http:\/\/eprints.gla.ac.uk\/view\/journal_volume\/33_Cines.html\">33 Cines<\/a>, 1 (1). pp. 6-16.<\/li>\n<li><a href=\"http:\/\/eprints.gla.ac.uk\/view\/author\/19347.html\">Martin-Jones, D.<\/a>, and Montanez, M.S. (2009) <a href=\"http:\/\/eprints.gla.ac.uk\/76610\/\"><em>Cinema in progress: new Uruguayan cinema.<\/em><\/a> <a href=\"http:\/\/eprints.gla.ac.uk\/view\/journal_volume\/Screen.html\">Screen<\/a>, 50 (3). pp. 334-344. ISSN 0036-9543 (doi:<a href=\"http:\/\/dx.doi.org\/10.1093\/screen\/hjp015\">10.1093\/screen\/hjp015<\/a>)<\/li>\n<li><a href=\"http:\/\/eprints.gla.ac.uk\/view\/author\/19347.html\">Martin-Jones, D.<\/a> (2007) <a href=\"http:\/\/eprints.gla.ac.uk\/76611\/\"><em>Bicycle thieves, or thieves on bicycles? El Ba\u00f1o del Papa (2007).<\/em><\/a> <a href=\"http:\/\/eprints.gla.ac.uk\/view\/journal_volume\/Studies_in_Hispanic_Cinemas.html\">Studies in Hispanic Cinemas<\/a>, 4 (3). pp. 183-198. ISSN 1478-0488<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Today, Medi\u00e1tico presents an entry by one of its co-editors Catherine Grant, Senior Lecturer in Film Studies at the University&#8230;<\/p>\n","protected":false},"author":1,"featured_media":532,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[55,93,90,94,91,92,89,95,96],"class_list":["post-531","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-catherine-grant","tag-david-martin-jones","tag-horror-cinema","tag-m-soledad-montanez","tag-remakes","tag-transnational-culture","tag-uruguay","tag-usa","tag-victoria-ruetalo"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2014\/03\/Single-Take-image.png","jetpack_shortlink":"https:\/\/wp.me\/p49QSj-8z","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/531","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/comments?post=531"}],"version-history":[{"count":9,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/531\/revisions"}],"predecessor-version":[{"id":1744,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/531\/revisions\/1744"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/media\/532"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/media?parent=531"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/categories?post=531"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/tags?post=531"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}