Jump to ContentJump to Main Navigation
Show Summary Details
More options …


The European Journal of Communication Research

Ed. by Averbeck-Lietz, Stefanie / d'Haenens, Leen

IMPACT FACTOR 2018: 0.707
5-year IMPACT FACTOR: 1.151

CiteScore 2018: 0.86

SCImago Journal Rank (SJR) 2018: 0.460
Source Normalized Impact per Paper (SNIP) 2018: 0.580

See all formats and pricing
More options …
Volume 44, Issue 3


Manufacturing proximity through film remakes: Remake rights representatives and the case of local-language comedy remakes

Miguel Fernández Labayen
  • Corresponding author
  • Department of Journalism and Audiovisual Communication Charles III University of Madrid (UC3M) Getafe Spain
  • Email
  • Other articles by this author:
  • De Gruyter OnlineGoogle Scholar
/ Ana Martín Morán
Published Online: 2019-08-24 | DOI: https://doi.org/10.1515/commun-2019-2058


This article analyzes the industrial and cultural dynamics of transnational film remakes, focusing on the recent rise of remake rights representatives and the production of comedy remakes for local-language markets. Through the use of in-depth interviews with remake rights representatives and the analysis of primary and secondary sources, we scrutinize the strategies of these players in mediating the production processes of remaking foreign popular films into local-language hits. The article takes on two tasks: First, it dissects the work of the different agents at play in buying and selling remake rights and examines their business models and tactics; second, it looks at the generic contents that these agents are circulating through selected catalogs. In this context, comedy becomes a privileged interface to link diverse national markets and manufacture an ideal of proximity, whereby foreign popular comedies – unknown to local audiences – are remade with a local flavor and presented as ‘new’ national hits.

Keywords: transnational film remakes; remake rights representatives; local-language remakes; film comedy remakes; critical media industries studies


  • Cinema Republic (2017). Remake rights [Brochure].Google Scholar

  • Cinema Republic (2018). Company. Retrieved November 15, 2018 from http://www.cinemarepublic.es/empresa.html.Google Scholar

  • Cuelenaere, E., Joye S., & Willems G. (2016). Reframing the remake: Dutch-Flemish monolingual remakes and their theoretical and conceptual implications. Frames Cinema Journal, 10. Retrieved November 15, 2018 from http://framescinemajournal.com/article/reframing-the-remake-dutch-flemishmonolingual-remakes-and-their-theoretical-and-conceptual-implications/.Google Scholar

  • du Gay, P., & Pryke, M. (2002). Cultural economy: An introduction. In P. du Gay & M. Pryke (Eds.), Cultural economy: Cultural analysis and commercial life (pp. 1–20). London: Sage.Google Scholar

  • Eccho Remakes (2014). Eccho Remakes – Full catalogue [Brochure].Google Scholar

  • Fernández Labayen, M., & Martín Morán, A. (2017). Remakes transnacionales: Dinámicas industriales y estéticas [Transnational remakes: Dynamics of the industry and aesthetics]. Fonseca, Journal of Communication, 14, 59–73. Retrieved November 15, 2018 from http://revistas.usal.es/index.php/2172-9077/article/view/fjc2017145973/17441Google Scholar

  • FilmSharks Int’l (2018). Remake line-up 2018 [Brochure].Google Scholar

  • Forrest, J., & Koos, L. R. (2002). Dead Ringers: The remake in theory and practice. New York: SUNY Press.Google Scholar

  • Fritz, B. (2016, May 2). Lions Gate leads venture to remake films in other countries. The Wall Street Journal. Retrieved November 15, 2018 from https://www.wsj.com/articles/lions-gate-leads-venture-to-remake-films-in-other-countries-1462205053.Google Scholar

  • Globalgate Entertainment (2018). About Globalgate. Retrieved November 15, 2018 from http://www.globalgate.world/.Google Scholar

  • Govil, N. (2009). Thinking nationally: Domicile, distinction, and dysfunction in global media exchange. In J. Holt & A. Perren (Eds.), Media industries. History, theory, and method (pp. 132–143). Malden, MA: Wiley-Blackwell.Google Scholar

  • Harney, M. (2002). Economy and aesthetics in American remakes of French films. In J. Forrest & L. R. Koos (Eds.), Dead Ringers. The remake in theory and practice (pp. 63–88). Albany: State University of New York Press.Google Scholar

  • Havens, T., Lotz, A. D., & Tinic, S. (2009). Critical media industry studies: A research approach. Communication, Culture & Critique, 2(2), 234–253.Google Scholar

  • Hopewell, J. (2016, November 29). Sony takes ‘inseparables’ in multi-territory deal. Variety. Retrieved November 16, 2018 from http://variety.com/2016/film/festivals/sony-filmsharks-inseparables-multi-territory-deal-1201928667/.Google Scholar

  • Hopewell, J. (2017, December 2). Ventana Sur: Cinema Republic, Gullane Clinch ‘President by Accident’ remake deal. Variety. Retrieved November 16, 2018 from https://variety.com/2017/film/festivals/cinema-republic-gullane-president-accident-remake-deal-1202628860/.Google Scholar

  • Johnson, D., Kompare, D., & Santo, A. (2014). Introduction: Discourses, dispositions, tactics: Reconceiving management in critical media industry studies. In D. Johnson, D. Kompare & A. Santo (Eds.), Making media work. Cultures of management in the entertainment industries (pp. 1–21). New York, London: New York University Press.Google Scholar

  • Kay, J. (2014, November 21). Guido Rud, FilmSharks International. Screen Daily. Retrieved November 15, 2018 from http://www.screendaily.com/features/interviews/guido-rud-filmsharks-international/5080275.article.Google Scholar

  • Leitch, T. M. (1990). Twice-told tales: The rhetoric of the remake. Literature/Film Quarterly, 18(3), 138.Google Scholar

  • Loock, K., & Verevis, C. (2012). Film remakes, adaptations and fan productions. Remake/remodel. New York: Palgrave Macmillan.Google Scholar

  • Lotz, A. D. (2014). Building theories of creative industries managers: Challenges, perspectives, and future directions. In D. Johnson, D. Kompare & A. Santo (Eds.), Making media work. Cultures of management in the entertainment industries (pp. 25–38). New York, London: New York University Press.Google Scholar

  • Mayorga, E. (2017, September 15). Guido Rud, CEO de FilmSharks. LatAm Cinema, Retrieved November 15, 2018 from https://www.latamcinema.com/entrevistas/guido-rud-ceo-de-filmsharks/.Google Scholar

  • Moran, A. (2009). Global franchising, local customizing: The cultural economy of TV program formats. Continuum: Journal of Media & Cultural Studies, 23(2), 115–125.Web of ScienceGoogle Scholar

  • Moran, A., & Malbon, J. (2006). Understanding the global TV format. Bristol: Intellect.Google Scholar

  • Murray, S. (2012). The adaptation industry. The cultural economy of contemporary literary adaptation. New York, Oxon: Routledge.Google Scholar

  • Oren, T., & Shahaf, S. (2012). Global television formats. Understanding television across borders. New York, Oxon: Routledge.Google Scholar

  • Park, M. (2009). Hollywood’s remake practices under the copyright regime: French films and Japanese horror films. In S. A. Lukas, & J. Marmysz (Eds.), Fear, cultural anxiety, and transformation: Horror, science fiction, and fantasy films remade (pp. 107–128). Lanham, MD: Lexington.Google Scholar

  • Piñón, J. (2014). Corporate transnationalism. The US Hispanic and Latin American television industries. In A. Dávila & Y. Rivero (Eds.), Contemporary Latin@ media: Production, circulation and politics (pp. 21–42). New York: New York University Press.Google Scholar

  • Roxborough, S., & Brzeski, P. (2018, February 16). Why local-language remakes are thriving at the global box office. The Hollywood Reporter. Retrieved November 15, 2018 from https://www.hollywoodreporter.com/news/berlin-why-local-language-remakes-are-thriving-at-global-box-office-1085701.Google Scholar

  • Smith, I. R. (2017). ‘For the dead travel fast’: The transnational afterlives of Dracula. In I. R. Smith & C. Verevis (Eds.), Transnational film remakes (pp. 66–84). Edinburgh: Edinburgh University Press.Google Scholar

  • Smith, I. R., & Verevis, C. (Eds.) (2017). Transnational film remakes. Edinburgh: Edinburgh University Press.Google Scholar

  • Verevis, C. (2005). Film remakes. Edinburgh: Edinburgh University Press.Google Scholar

  • Wyatt, J. (1994). High concept: Movies and marketing in Hollywood. Austin, TX: University of Texas Press.Google Scholar

About the article

Published Online: 2019-08-24

Published in Print: 2019-09-25

Citation Information: Communications, Volume 44, Issue 3, Pages 282–303, ISSN (Online) 1613-4087, ISSN (Print) 0341-2059, DOI: https://doi.org/10.1515/commun-2019-2058.

Export Citation

© 2019 Walter de Gruyter GmbH, Berlin/Boston.Get Permission

Comments (0)

Please log in or register to comment.
Log in