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Abstract only
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
Author: Brian McFarlane

Brian McFarlane’s The never-ending Brief Encounter is above all a book intended for those who have seen and never forgotten the famous 1945 film in which two decent, middle-class people meet by chance, unexpectedly fall in love, but in the end acknowledge the claims of others. The book grew out of an article, the writing of which revealed that there was so much more to the after-life of the film than the author had realised. This book examines David Lean’s film in sufficient detail to bring its key situations vividly to life, and to give an understanding of how it reworks Nöel Coward’s somewhat static one-act play to profound effect. It also examines the ways in which the ‘comic relief’ is made to work towards the poignant ending. However, the main purpose of the book is to consider the remarkable after-life the film has given rise to. The most specific examples of this phenomenon are, of course, the appalling film remake with its miscast stars, and the later stage versions – both bearing the original title and attracting well-known players and positive audience and critical response – and an opera! As well, there are films and TV series which have ‘quoted’ the film (usually via black-and-white inserts) as commentary on the action of the film or series. There are many other films that, without direct quotation, seem clearly to be echoing their famous predecessor; for example, in the haunting visual quality of a deserted railway platform.

Quentin Falk

continental atmosphere. And the title change was his, too, which both Dean and Mrs Galsworthy thought ‘pointless’. 15 All of which sorting and matching was, presumably, in a typical Denham day’s work for the editor. As well as Korda’s indefatigable meddling, another recurring motif was his fondness for foreign-language film remakes. During the thirties, the vaults at Denham were apparently full of acquisitions, a number of them foreign language, some of which, Karol Kulik explained, ‘Korda had bought and imported for the express purpose of filming an English version

in Charles Crichton
Abstract only
Brian McFarlane and Deane Williams

). 2 Constantine Verevis, Film Remakes (Edinburgh: Edinburgh University Press, 2006), p. 84. 3 Thomas Schatz, Hollywood Genres (New York: Random House, 1981), p. 10. 4 Lizzie Francke, ‘ Butterfly Kiss ’, Sight and Sound (August 1995), p. 42

in Michael Winterbottom
Barry Jordan

anxieties about appearances, celebrity, looks and ageing. Yet, in the case of his remake, he appears unable to restrain himself, unable to rein in those very impulses and forces his film remake was meant to critique. 27 Notes 1 It is worth bearing in mind that Amenábar’s portrayal of the Life Extension Company is based on a bona-fide, real-life, American

in Alejandro Amenábar
Brian McFarlane and Deane Williams

Constantine Verevis, Film Remakes , p. 84. Verevis, in turn, draws on Rick Altman, ‘A Semantic/Syntactic Approach to Film Genre’, in Barry Keith Grant (ed.), Film Genre Reader II (Austin: University of Texas Press, 1995). 5 Ciment and Tobin, ‘Entretien avec Michael Winterbottom’, p. 26. 6

in Michael Winterbottom
The Golden Army
Deborah Shaw

, however, the most problematic of all my case studies when applying this frame of reference, as it is a Hollywood product from within the superhero stable of films, and is based, like Hellboy (2004), also directed by del Toro, on the character and the adult comics created by Mike Mignola. Funding came principally from Universal Pictures, but also from Dark Horse Entertainment, the company behind the Hellboy graphic novels. Publishers of comics are increasingly taking on the role of film producers, with film remakes providing a substantial proportion of their income

in The three amigos
Griselda Pollock

Marilyn Monroe who was made stellar by Twentieth-Century Fox’s release in July 1953 of a film remake of a Broadway musical version of Anita Loos’s novella Gentlemen Prefer Blondes (1925) ( fig. 2.7 ). Cast as ‘dumb blonde’ gold-digger Lorelei Lee, Marilyn Monroe replotted a history of woman as image in cinema into that decade’s glossy myth of cosmetically fashioned and dyed as well as dying femininity. 3 The Blonde met her other in that decade in the person of the Painter – Jackson Pollock, almost himself a Method actor and

in Killing Men & Dying Women
Abstract only
Ginette Vincendeau

-American remakes, see Lucy Mazdon, Encore Hollywood: Remaking French Cinema (London: BFI Publishing, 2000), and Tom Brown, ‘French Film Remakes: the Classical Era’, in Christian Viviani (ed.), Hollywood: Les Connections françaises (forthcoming). 16 For further details on Gabin’s star persona and his role in poetic realism and the 1950s French gangster film, see

in European film noir