International co-productions of filmic texts have been almost a norm rather than an anomaly in film history. Hollywood itself has established itself by attracting filmmaking talents in the world from the first part of the 20th century onward, including émigré directors from the Germanic Europe, who brought in influences of expressionism and created the language of film noir. In Asia, co-productions, crossing national borders in terms of financing, personnel and creative inputs, have been a survival strategy for many decades. As Stephanie DeBoer has delineated, Asia has been “co-produced” through filmmaking endeavors of many different combinations. This paper focuses on most recent two examples of international co-production, Broker (Koreeda, 2022) and Perfect Days (Wenders, 2023).
While recognizing that extra-textural factors in the production have affected the making of these films significantly, the paper focuses on the film asking what unusual textual qualities have developed due to the fact that they are results of international co-production. What senses of national identities are reproduced or challenged? Bypassing Hollywood or the west, films co-produced within Asia articulate new cultural identities. This paper asks these questions in relation to previous examples such as Café Lumiere (2003) and Like Someone in Love (2012) as well.

Authors:
Jiwon Ahn, Keene State College, United States

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Posted by James Alexander Gordon

Last updated: 2023-02-23 23:45:00

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