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
Excess and stylisation are the two major hallmarks of Luc Besson's films. Despite Besson's stature as a popular filmmaker during the late 1980s and 1990s, there was during this period little major academic work on his films. This book supplements the pioneering work by covering a broad range of issues in Besson's films, which have not yet been substantially covered by academic analysis; and, moreover, wherever possible, to use analytical tools developed in Film Studies during the same period as Besson's work. Because of the primacy of the visual for theorists of spectatorship, music emerged as a concern from the work devoted to the soundtrack. Besson's films are good examples of the way in which music is a key component of the film. His films, often considered as flashy videoclips, have musical scores which guide audience reception: actions on screen are paralleled by a musical response on the soundtrack. The book maps the evolution of Eric Serra's compositional style over the span of his collaboration with Luc Besson. It brings together inbetweenness, violence, gender and costume, starting from an examination of the development of certain key costumes worn by male characters in Luc Besson's feature films. The challenges around sexuality and gender performativity that Le Cinquieme element puts on display mark the film as contestatory of dominant ideology, are discussed. The book also presents three approaches to explain the infatuation of millions of cinemagoers and videotape buyers as a result of Le Grand bleu's success.
The Strange History of The Robe As Political Allegory
Smith reveals the particular biases and assumptions of blacklist allegories as well
as the extent to which this type of interpretation has informed the reception of
1950s films. More specifically, he addresses several questions about the validity of
allegorical readings of the blacklist. Is there a basis for such allegorical
interpretations? What is the place of authorial intention and audience reception in
the encoding and decoding of blacklist allegories? What does this reading strategy
tell us about the politics of the films makers? Does this reading strategy privilege
certain meanings of the text over others of equal significance?
This book considers how the coverage of Islam and Muslims in the press informs the thoughts and actions of non-Muslims. As media plays an important role in society, analysing its influence(s) on a person’s ideas and conceptualisations of people with another religious persuasion is important. News reports commonly feature stories discussing terrorism, violence, the lack of integration and compatibility, or other unwelcome or irrational behaviour by Muslims and Islam. Yet there is little research on how non-Muslims actually engage with, and are affected by, such reports. To address this gap, a content and discourse analysis of news stories was undertaken; verbal narratives or thoughts and actions of participants were then elicited using interviews and focus groups. The participant accounts point towards the normativity of news stories and their negotiated reception patterns. Individual orientations towards the media as an information source proved to be a significant factor behind the importance of news reports, with individually negotiated personal encounters with Muslims or Islam further affecting the meaning-making process. Participants negotiated media reports to fit their existing outlook on Islam and Muslims. This outlook was constructed through, and simultaneously supported by, news reports about Muslims and Islam. The findings suggest a co-dependency and co-productivity between news reports and participant responses. This research clearly shows that participant responses are (re)productions of local and personal contextuality, where the consequences of socially constructed depictions of Islam and Muslims engage rather than influence individual human thoughts and actions.
, Leslie Arliss, Lawrence Huntington or
Bernard Knowles. To refer briefly to Pierre Bourdieu’s idea of the
‘field of cultural production’ 2 may suggest ways in which Comfort’s predilections as
individual artist, and British cinema (embracing production, exhibition,
audiencereception and critical discourse) as the site of his activity,
helped to shape a career lasting four decades, two-and-a-half of these as a
control of audiencereception. Instead, I explore how museum publics form individual
responses to cultural heritage, sometimes rejecting official interpretation and drawing upon
wider cultural references and experiences. Collections of non-European material culture were
important in establishing British perceptions about the peoples of their empire: through objects, visitors were able to
glean information about diverse peoples’ cultures and climates, make assumptions about
their relative positions in socio
Adaptation and reception of Andrea Newman’s A Bouquet of Barbed
Engaging with adaptation theory and narrative theory, and relevant
contemporaneous critical reviews, this essay textually analyses Newman’s
original novel and its television adaptations and considers these in
relation to audience reception, as well as to other similarly placed
literary adaptations. In analysing the repression of incestuous desire, and
the sado-masochistic themes that arise in A Bouquet of Barbed Wire,
this chapter also refers to Freudian psychoanalysis, connecting the themes
of incestuous desire, and associated guilt-induced masochism to narrative
theory in the way that these dual fantasies propel the narrative forward.
Finally, this essay comments upon incest as taboo in interpreting audience
Recent cultural studies have demonstrated the weakness of some of the fashionable theoretical positions adopted by scholars of imperialism in recent times. This book explores the diverse roles played by museums and their curators in moulding and representing the British imperial experience. The British Empire yielded much material for British museums, particularly in terms of ethnographic collections. The collection of essays demonstrates how individuals, their curatorial practices, and intellectual and political agendas influenced the development of a variety of museums across the globe. It suggests that Thomas Baines was deeply engaged with the public presentation, display and interpretation of material culture, and the dissemination of knowledge and information about the places he travelled. He introduced many people to the world beyond Norfolk. A discussion of visitor engagement with non-European material cultures in the provincial museum critiques the assumption of the pervasive nature of curatorial control of audience reception follows. The early 1900s, the New Zealand displays at world's fairs presented a vision of Maoriland, which often had direct Maori input. From its inception, the National Museum of Victoria performed the dual roles of research and public education. The book also discusses the collections at Australian War Memorial, Zanzibar Museum, and Sierra Leone's National Museum. The amateur enthusiasms and colonial museum policy in British West Africa are also highlighted. Finally, the book follows the journey of a single object, Tipu's Tiger, from India back to London.
This opening chapter will contextualise the ‘Duvivier style’. It will look at his chief formative influence, André Antoine, whose influential theories on cinematic naturalism, location shooting, and performance authenticity was cultivated and developed by Duvivier throughout his career. The chapter will examine what makes a Duvivier film. Historians often make reference to Duvivier’s love of ‘work well done’ as his signature legacy and enduring film-making ethos. The chapter will introduce the key recognisable Duvivier traits: an expressive mise en scène, fluid camera movement and a complex negotiation of décor, strong central performances by stars and new actors, pessimistic narratives, incorporation of melodramatic elements (music, production design), and a film-by-film reliability. This analysis of Duvivier, beyond its historical range, also proposes to engage with key debates in film studies: notably auteurism, stardom and audience reception. The chapter will also look at how Duvivier fits into a history of both French national cinema and international film production. Duvivier’s genre eclecticism and lack of a coherent corpus should not be seen as a negative; instead, it is necessary to read Duvivier’s wide-ranging approach to genre and subject matter as a response to and engagement with important development in French and international film praxis.
While the nineteenth century saw many ‘national epics’ which retold (and combined) major Norse myths, the twentieth century saw mythological figures refracted into culture in more complex ways; indeed, sceptical trends in scholarship often corresponded with greater creative leeway in new narrative responses to mythological stories. Many scholars and writers have suggested that American superhero comics are, as one book has it, A Modern Mythology. Such a comparison would require a similar process to those which produced the Norse myths, with an ongoing tradition being sculpted by audience reception, ultimately capturing archetypes of deities. Evaluating the quintessential Batman film The Dark Knight (2008) in these terms shows that its unusual plot likewise owes much to narrative traditions shaped by reception, driving its apocalyptic themes of dynastic failure. As with Balder’s death and capture by Hel in Norse mythology, when a myth occupies a turning point in a set of interwoven stories, it gains ‘the weight of folklore’. In a post 9/11 context, the film depicts the powers of world order corrupt and in decline, as the rule of law collapses. In a time of chaos and conspiracy, the Joker’s mutilation of shining district attorney Harvey Dent takes on hellish symbolism.