Film Remakes

Film Remakes

Film Remakes

Film Remakes

Synopsis

This is the first book to provide a comprehensive and systematic account of the phenomenon of cinematic remaking. Drawing upon recent theories of genre and intertextuality, Film Remakes describes remaking as both an elastic concept and a complex situation, one enabled and limited by the interrelated roles and practices of industry, critics and audiences. This approach to remaking is developed across three broad sections: the first, remaking as industrial category, deals with issues of production, including commerce and authors; the second, remaking as textual category, considers genre, plots and structures; and the third, remaking as critical category, investigates issues of reception, including audiences and institutions. The film remake emerges as a particular case of repetition, a function of cinematic and discursive fields that is maintained by historically specific practices, such as copyright law and authorship, canon formation and media literacy, film criticism and re-viewing. These points are made through the lively discussion of numerous historical and contemporary examples, including the remaking of classics ( Double Indemnity, All That Heaven Allows, Psycho), foreign art-films ( Yojimbo, Solaris, Le Samouraï), cult movies ( Gun Crazy, Planet of the Apes, Dawn of the Dead), and television properties ( Batman, The Addams Family, Charlie's Angels).

Excerpt

I see an endless film with sequences signed by various authors in a
complex game of quotations, influences, remakes, variations and references.
(Bernardo Bertolucci, in Ungari, 1987)

This book seeks to provide a broad and systematic approach to the phenomenon of cinematic remaking. Drawing upon recent theories of genre and intertextuality, Film Remakes describes remaking as both an elastic concept and a complex situation, one enabled and limited by the interrelated roles and practices of industry, critics and audiences. This approach to remaking, outlined in the book's introduction, is developed across its three parts. the first of these, Remaking as Industrial Category, deals with issues of production, including commerce and authors; the second, Remaking as Textual Category, considers genre, plots and structures; and the third, Remaking as Critical Category, investigates issues of reception, including audiences and institutions. the film remake emerges from this discussion as a particular case of repetition, a function of cinematic and discursive fields that is maintained by historically specific practices, such as copyright law and authorship, canon formation and media literacy, film criticism and re-viewing. That is, while cinematic remaking belongs to the entire history of cinema and can refer to any number of technological, textual and cultural practices, this book contributes to an understanding of how the film remake is maintained as a separate yet connected phenomenon.

Film Remakes seeks to address some of the central critical issues around the concept of remaking, striving to deliver a broad theoretical approach to provide both an understanding of the phenomenon of cinematic remaking and of individual film remakes. This book takes an interest primarily in the industrial and institutional conditions of remaking in contemporary Hollywood cinema, and acknowledges that more and different work needs . . .

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