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The dollars are coming!

While post-war popular cinema has traditionally been excluded from accounts of national cinemas, the last fifteen years have seen the academy’s gradual rediscovery of cult and, more, generally, popular films. Why, many years after their release, do we now deem these films worthy of study? The book situates ‘low’ film genres in their economic and culturally specific contexts (a period of unstable ‘economic miracles’ in different countries and regions) and explores the interconnections between those contexts, the immediate industrial-financial interests sustaining the films, and the films’ aesthetics. It argues that the visibility (or not) of popular genres in a nation’s account of its cinema is an indirect but demonstrable effect of the centrality (or not) of a particular kind of capital in that country’s economy. Through in-depth examination of what may at first appear as different cycles in film production and history – the Italian giallo, the Mexican horror film and Hindi horror cinema – Capital and popular cinema lays the foundations of a comparative approach to film; one capable of accounting for the whole of a national film industry’s production (‘popular’ and ‘canonic’) and applicable to the study of film genres globally.

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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
From the silent era to the 1990s

Long before the emergence in the 1990s of a ‘cinéma de banlieue’ on the heels of Mathieu Kassovitz’s La Haine (1995), French filmmakers looked beyond the gates of the French capital for inspiration and content. In the Paris suburbs, they found a vast reservoir of architectural forms, landscapes and contemporary social types in which to anchor their fictions. From the villas and vacant lots of silent serials of the 1910s and the bucolic riverside guinguettes of 1930s poetic realism, to the housing estates and motorways of the second post-war, the suburban landscape came to form a privileged site in the French cinematographic imaginary. In keeping with directorial vision, the prerogatives of the film industry or the internal demands of genre, the suburb could be made to impart a strong impression of reality or unreality, novelty or ordinariness, danger or enjoyment. The contributors to this volume argue collectively for a long history of the suburban imaginary by contrasting diverse ‘structures of feeling’ (Raymond Williams) that correlate to divergent aesthetic and ideological programmes. Commenting on narrative, documentary and essay films, they address such themes as class conflict, leisure, boredom, violence and anti-authoritarianism, underscoring the broader function of the suburb as a site of intense cultural productivity.

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Andrew Dix

various running lengths the works offered to exhibitors. Organising films by genre is also more broadly revealing than organising them by particular directors or stars (approaches discussed below in Chapters 6 and 7 ). Less promisingly, however, criticism of film genres has often struggled to achieve scientific rigour in its definition of the categories with which it works. It is also not always responsive to hybrid or multi-generic films, which is a matter of consequence to Alien , itself a fusion of horror and sci-fi. Genre study’s available classes can seem

in Beginning film studies (second edition)
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Genre and performance in Shahrukh Khan’s post-millennial films
Rayna Denison

Film genres are always already mixed; as the process of making films requires ever new combinations of generic elements ( Altman, 1999 : 54-68). Despite this, there are very few discussions of the effects of genre mixing and hybridisation, even in relation to Hollywood cinema. A blind spot in genre criticism has therefore emerged and the effects of genre mixing on the whole of the circuit of culture

in Genre and performance
Sam Rohdie

No perception is without memories … ( Henri Bergson ) Intolerance consists of four stories separated historically in time and space. The gaps between the stories are considerable. Each story was shot and organised differently and each refers to established and successful film genres: the Babylon story to

in Montage
Spanishness, dark comedy and horror
Juan F. Egea

. Even if in jest, the creation of such a generic label reveals, first of all, a willingness to anchor one’s work in a national, even local specificity; and, second, a playful problematisation of the concept of film genre. A chascarrillo , in fact, is not really a joke – a chiste – in Spanish. The Real Academy Dictionary defines the term as a ‘light and racy anecdote’ (‘anécdota ligera y picante

in Contemporary Spanish cinema and genre
Border-crossing odyssey and comedy
Isolina Ballesteros

, he says, when it invites the spectator to have an intellectual and emotional reaction to something; ‘the political is what you bring out of the movie when you leave the theater’. 2 Since the late 1960s Costa-Gavras has made films that express his leftist political views on controversial topics and the implacable mechanisms of power through a diversity of film genres. His career as a filmmaker took off with Z (1969), a political thriller about the assassination of a leftist political figure in Greece and the subsequent coup d’état by a military junta

in The films of Costa-Gavras
Notes on the political thriller in contemporary Spanish cinema
Vicente J. Benet

context. In this light, the Olympic Games in Barcelona and the World Expo ’92 in Sevilla represent Spain as having surpassed its totalitarian past, bolstered by the political strength of the Socialist Party headed by Felipe González. Some scholars of the Transition period, however, view this catharsis as purely superficial. 2 In any case, from a film genre perspective, it is clearly revealed as

in Contemporary Spanish cinema and genre
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An introduction to François Ozon
Andrew Asibong

through cinema. The final main chapter considers all of Ozon’s output in the context of film genre. As well as simply pointing out the regularity with which his films utilise the rather unfashionable legacies of Hollywood horror, musical and melodrama in the forging of a peculiarly hybrid French cinema, I propose that Ozon’s fondness for passage into these ‘excessive’ genres is often closely connected to an ongoing

in François Ozon