Dead Ringers: The Remake in Theory and Practice by Jennifer Forrest, Leonard R. Koos

By Jennifer Forrest, Leonard R. Koos

Whereas the preferred press has criticized motion picture remakes as indicators of Hollywood s collective loss of mind's eye, the essays in lifeless Ringers display the centrality and endurance of remakes as a formative style in filmmaking. The participants exhibit that the perform of remaking motion pictures dates again to the origins of cinema and the evolution of movie markets. in reality, remakes have been by no means so time-honored as in the course of the vintage Hollywood interval, whilst filmmaking had accomplished its maximum measure of industrialization, they usually proceed to play a vital position within the improvement of movie genres typically. delivering numerous ancient, advertisement, theoretical, and cultural views at the remake, lifeless Ringers is a priceless source for college kids of movie heritage and thought, in addition to these attracted to the cultural politics of the overdue 20th century."

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

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Without the benefits of the larger picture, this view can be nothing but limited and therefore distorting. While the politics of the remake do contribute immeasurably to an understanding of the practice, a political dimension alone hinders a systematic evaluation, for example, of the prominent historical and aesthetic role of the remake from the cinema’s beginnings to Classic Hollywood cinema—perhaps the richest period in both original and remade productions—to the 1950s’ remake of 1930s’ Classic films, to the recent rash of remakes—this too taking place during a period particularly rich in the successfully competitive production of independent films.

KOOS belonged primarily to the B movies, the originals being B films that were not great box-office successes, and therefore did not risk being remembered by a great number of the viewing patrons (Balio 100). 6. Flight From Glory (Landers, 1937) tells a strikingly similar tale to Only Angels Have Wings, making it potentially the “original” for Hawks’s later film, thereby seriously undermining Ray’s argument about its role as a prototype for WWII combat films. Hawks was not unfamiliar with the territory, having remade The Front Page (Milestone, 1931) with His Girl Friday (1940), and Ball of Fire (1941) with A Song is Born (1948).

The cry against remaking is loudest when the original film falls into the art category. How, critics wonder, could a producer even think of remaking great films like Les Diaboliques (Clouzot, 1955)20 or Red Dust (Fleming, 1932)? And yet, the made-for-television movie Reflections of Murder (Badham, 1973) is considered a first-rate version of Les Diaboliques, as is John Ford’s remake of Red Dust with Mogambo (1953). The outrage at the American remaking of foreign films especially leads one to assume that foreign pictures automatically merit art status, feeding off the art cinema’s ability to pass itself off as a noncommodity.

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