Film Remakes by Constantine Verevis

By Constantine Verevis

This is often the 1st publication to supply a accomplished and systematic account of the phenomenon of cinematic remaking. Drawing upon fresh theories of style and intertextuality, Film Remakes describes remaking as either an elastic inspiration and a posh scenario, one enabled and restricted by means of the interrelated roles and practices of undefined, critics, and audiences. This method of remaking is built throughout 3 large sections: the 1st offers with problems with construction, together with trade and authors; the second one considers style, plots, and buildings; and the 3rd investigates problems with reception, together with audiences and associations.

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33 Hoberman, ‘Sacred and Profane’; and Diski, ‘The Shadow Within’. Vieira and Stam, ‘Parody and Marginality’, p. 94. Neale, Genre and Hollywood, p. 39. html. ’, p. 164. Leitch, ‘Twice-Told Tales’, p. 139. See McElwee, ‘Theatrical Re-issues’. Lafferty, ‘Feature Films on Prime-Time Television’, pp. 235–56. Friedberg, Window Shopping. Frow, ‘Intertextuality and Ontology’, p. 45. Iampolski, The Memory of Tiresias, p. 8. , p. 31, emphasis in original. Ibid. , pp. 32–5. Frow, ‘Rev. of Play It Again, Sam’, emphasis added.

These are: 1. shrewd city folks try to swindle Jed Clampett and family out of their fortune; 2. variously inappropriate – corrupt and/or mercenary – suitors come courting for the hand of Jed’s daughter, Elly May; 3. Jed’s moronic nephew, Jethro, tries his hand at various careers, including international spy and brain surgeon; 4. Jed, a widower, meets a potential bride; and 5. 12 While the above description already suggests strong patterns of textual repetition in the US tele-series, it is necessary to make a distinction between, on the one hand, thirty-minute sitcoms like The Beverly Hillbillies and Gilligan’s Island, and on the other hand, sixty-minute actionadventure series like Maverick (ABC, 1957–62), The Fugitive (ABC, 1963–67) and Mission: Impossible (CBS, 1966–73).

51; and Genre and Hollywood, p. 31. Altman, Film/Genre, p. 91. Kolker, ‘Algebraic Figures’, p. 36. Leitch, ‘Twice-Told Tales’, p. 141. Eco, ‘Innovation and Repetition’, pp. 161–84. See Fish, Is There a Text in This Class? Biguenet, ‘Double Takes’, p. 131. Dowell, ‘Rev. of Unforgiven’, p. 72. 34 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. 157. 158. 159. 160.   Hoberman, ‘Sacred and Profane’, p. 11. Frow, ‘Rev.

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