By Jennifer Forrest, Leonard R. Koos

ISBN-10: 0791451690

ISBN-13: 9780791451694

Whereas the preferred press has criticized motion picture remakes as indicators of Hollywood s collective loss of mind's eye, the essays in useless Ringers demonstrate the centrality and endurance of remakes as a formative style in filmmaking. The individuals exhibit that the perform of remaking motion pictures dates again to the origins of cinema and the evolution of movie markets. actually, remakes have been by no means so universal as through the vintage Hollywood interval, while filmmaking had completed its maximum measure of industrialization, and so they proceed to play a very important position within the improvement of movie genres commonly. delivering quite a few historic, advertisement, theoretical, and cultural views at the remake, useless Ringers is a beneficial source for college students of movie background and idea, in addition to these attracted to the cultural politics of the past due 20th century."

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Extra resources for Dead Ringers: The Remake in Theory and Practice

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Horton and McDougal 191–99. Balio, Tino, ed. Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939. Berkeley: U of California P, 1993. Vol. 5 of History of the American Cinema. 6 vols. 1990–99. 34 JENNIFER FORREST AND LEONARD R. KOOS Bazin, André. 5 (September 1951): 52–56. ——— . 11 (April 1952): 54–59. Canby, Vincent. ” New York Times 12 Feb. 1989: B1+. Cohen, Roger. “Aux Armes! France Rallies to Battle Sly and T. ” New York Times 2 Jan. 1994: B1+. Delisle, Jean and Judith Woodsworth.

According to Daniel Protopopoff, Raoul Walsh’s remake of High Sierra (1941) with Colorado Territory (1949) is a legitimate remake because “he used one of his films as a starting point for an entirely separate creation, in another Hollywood style possessing its own conventions and stereotypes,” such that because the backdrop of the remake is different, “no work has anything to begrudge the other” (“Panoramique” 128). As for Leo McCarey’s An Affair to Remember, while there is neither shifting from one generic landscape to another nor substantial variation to the general story, there is nevertheless evidence of the generic evolution of what the French call the “American comedy,” which can be seen in the “confrontation of the two variants” (129).

Macgowan, Kenneth. Behind the Screen: The History and Techniques of the Motion Picture. New York: Dell, 1965. Maltby, Richard. ” Balio 37–72. Maslin, Janet. ” New York Times 7 March 1997: B3. REVIEWING REMAKES 35 Millet, Raphaël. “Non, Nosferatu n’est pas mort: Toujours à trainer dans les courants d’air. . ” Positif 460 (June 1999): 97–99. Mouren, Yannick. ” Positif 460 (June 1999): 90–94. Nacache, Jacqueline. ” Positif 460 (June 1999): 76–80. Pinel, Vincent. Introduction au ciné-club: Histoire, théorie, pratique du ciné-club en France.

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