Book description
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 Samouraļ), cult movies (Gun Crazy, Planet
of the Apes, Dawn of the Dead), and television properties (Batman, The Addams Family, Charlie’s Angels). [Publisher's
website]
About the author
Dr. Constantine Verevis is
Lecturer, School of English, Communications & Performance Studies at
Monash University.
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