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Constantine Verevis

What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).

Film Studies
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Genre collisions and mutations
James Peacock

theory in Chapter 1 , for instance), it is the community-building aspect of genre upon which I focus in this introduction, because it is the most pertinent to Lethem’s real-world preoccupation with subcultural identity as well as, of course, his attitude to literary and popular cultural genres. Rick Altman’s work in Film/Genre (1999) is especially useful for this argument, because it persuasively

in Jonathan Lethem
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

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James Peacock

) and is partly an ironic disavowal of those genres by a highly ‘literary’ writer, Lethem, even at his most meta-generic, appreciates the literary and cultural value of popular genres in themselves. As this study has insisted, following Rick Altman’s work in Film/Genre , this is partly because he sees in genres and in the tendency of critics rigidly to demarcate genre boundaries a model of the ways in

in Jonathan Lethem
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Jay Beck and Vicente Rodriguez Ortega

publications such as Rick Altman’s Film/Genre (1999), Steve Neale’s Genre and Hollywood (2000) and Linda Williams’s Playing the Race Card (2001) – displays a strong bias favouring Hollywood cinematic production when attempting to define the historical and aesthetic functions of film genres. One of our main goals in this collection is to approach genre from what has been a marginalised body of works in genre theory – national

in Contemporary Spanish cinema and genre
Sarah Wright

he wrote about the structural affinities between cinema and the (panto)mime. See Piccardi (2009: 7). References Abel, Richard and Rick Altman (2001) ‘Introduction’, in Richard Abel and Rick Altman (eds), The Sounds of Early Cinema, Bloomington:  Indiana University Press. Adorno, Theodor and Hanns Eisler (1994) Composing for the Films, London: Athlone Press. Agamben, Giorgio (2000) Means Without End: Notes on Politics, trans. Vicenzo Binetti and Cesare Casarino, Minneapolis: University of Minnesota Press. Alcaide, José Luis (2004) ‘La aldea maldita y la cultura fin

in Performance and Spanish film
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The Others and its contexts
Ernesto R. Acevedo-Muñoz

. . . a form of raising a question about the present using the past’ continue to determine, or at best mediate meaning (Xavier, 1999 : 354). Significantly, genre categories and expectations also play a crucial role in our understanding of allegories and their meaning since popular genres by design present a type of shorthand for interpretation in each national context. As Rick Altman ( 1999 ) has argued, genres are not static

in Contemporary Spanish cinema and genre
Christine Cornea

, the hospital series, the courtroom drama series, the traditionally domestic setting of the soap opera, and so forth). Furthermore, important to television are a plethora of non-narrative genres, like the documentary, talk show, quiz and game show, and news and current affairs programme. As Rick Altman has pointed out, ‘film genre’s consistent connections to the entire production

in Genre and performance
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Celestino Deleyto

beyond the texts, especially by theorists like Neale and Rick Altman ( 1999 ), is a welcome move and such resources as promotional material, trade press descriptions of the films, contemporary reviews, etc., have proved invaluable to understand the workings of film genre, there remains room for consideration of the ways in which the texts themselves function generically. While acknowledging the importance of what could be

in The secret life of romantic comedy
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Traumatic events and international horror cinema
Linnie Blake

work do such films undertake in exposing dominant ideologies’ will to deny trauma’s centrality to national identity formation by prematurely binding (and hence concealing, denying) those wounds? In its consideration of horror cinema, this work thus rests upon broadly structuralist definitions of genre forged by critics such as Rick Altman; genre being viewed as an loose and ever-mutating collection of arguments and readings that help to shape both aesthetic ideologies and commercial strategies and that on examination can tell us a great deal about the culture from

in The wounds of nations