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 Samourai), cult movies (Gun Crazy, Planet of
the Apes, Dawn of the Dead), and television properties (Batman, The
Addams Family, Charlie's Angels).
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