IN THIS POST:
Starting with Saunders' excellent Telegraph article I'll look at arguments that BJB is too British for the US market; non-English markets experience a radically different Bridget through culturally-weighted translations (eg Spain) - and even censorship (Japan). Japanese subtitles reposition Jones as closer to a traditional stereotypical female through certain formalities of grammar. Greeks were among many non-UK/US (Australia/NZ/Canada?) audiences to be left none the wiser when Aretha's Respect kicked in at a key point in the original movie - iconic tunes that 'everyone knows' don't necessarily cross Western, English-language borders.
A nuanced view of WT's strategy.
Saunders cites a number of academic studies in doing so - this is a much-studied franchise and cultural phenomenon, so challenge yourself and look out for more in-depth reading!
One such example that I will re-read in due course, not least as it presents intriguing arguments on the tensions between WT and Richard Curtis' script between appealing to the domestic and US markets: Jones is at once Americanised and critical of American culture ... is the book Falling in Love Again: Romantic Comedy in Contemporary Cinema (Abbott, Jermyn eds. (2008)).
I'll get to view the film in due course - but your own (or second hand) observations from this would be welcomed (post a comment).
TOO CULTURALLY ALIEN FOR THE US MARKET?
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| Headline for the Saunders piece. |
