Abstract
In the adaptation of non-English language cinema for the American and global markets, studios often endeavour to excise alien cultural elements to endear texts to their new audiences. The example of Hideo Nakata's Ringu films and their American counterparts, The Ring series, illustrates the manner in which such adaptations can give form to normally unarticulated assumptions about national cultures, which can reemerge in extratextual criticism and positioning. The understanding of Japan implied in these instances of adaptation is investigated through a comparative analysis and argued to be indicative of the persistence of an Orientalist vision of Japan, which is symptomatic of the historical role of Japanese cinema in the context of film studies.
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