Film Remakes as Ritual and Disguise: From Carmen to Ripley by Anat Zanger

By Anat Zanger

The 1st full-length historical past of the remake in cinema, Film Remakes as Ritual and Disguise can also be the 1st e-book to discover how and why those tales are told. 

Anat Zanger specializes in modern retellings of 3 specific tales—Joan of Arc, Carmen, and Psycho—to demonstrate what she calls the remake’s “rituals of disguise.” Joan of Arc, Zanger demonstrates, later looks because the tricky, androgynous Ripley within the blockbuster Alien sequence and the God-ridden Bess in Lars Von Trier’s Breaking the Waves. eventually, those remake chains provide facts of the archetypes of our personal age, cultural “fingerprints” which are reflective of society’s personal personal tastes and politics. beneath the redundancy of the remake, Zanger exhibits, lies our collective social memory.  certainly, at its center the lowly remake represents a primal try to achieve immortality, to overcome death—playing at motion picture theaters seven days every week, 12 months a year. 

Addressing the broader theoretical implications of her argument with sections on modern movie matters resembling trauma, jouissance, and censorship, Film Remakes as Ritual and conceal is an insightful addition to present debates in movie concept and cinema history.

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Additional info for Film Remakes as Ritual and Disguise: From Carmen to Ripley (Amsterdam University Press - Film Culture in Transition)

Sample text

Soon after this both Carmen and Don José rise to their feet, smiling, and Chaplin shows Carmen that the knife is only a stage prop. Luis César Amadori’s version locates Carmen as an opera performance within the diegetic world of the film, turning it into a Bildungsroman. Amadori’s heroine rejects the advances of the young man who works with her. In a comedy of errors, she becomes involved in the opera production of Carmen where she improvises, sending the plot totally out of control. In the scene where Don José is supposed to kill her, she faints, breaks her leg, and eventually finds herself behind the scenes.

The subject-viewer oscillates between the initial experience of pleasure, the traces left by this experience, and future attempts to repeat it. Pleasure is located in the moment of homeostasis between tension and release, that is, when difference and repetition are in equilibrium. Jouissance, in contrast, relates to the freezing of the moment of the annihilation of tension, that is, when differences and repetition are not satisfactorily balanced (see also Roland Barthes, , and Willemen, , cited in Neale : ).

On the application of Roland Barthes “The Structural Analysis of Narratives” to film, see Anat Zanger () and Brian McFarlane (). Other parameters, such as changes in the cultural setting of the film, as suggested by Robert Eberwein in Horton & McDougal (: -), intersect with mine. This activity has already been termed “intertextuality” in its broader sense (see Kristeva , Barthes  [()] and, more specifically, “rhetorical transtextuality” (see Genette,  and Eco,  []).

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