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382 pages

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While the popular press has criticized movie remakes as signs of Hollywood's collective lack of imagination, the essays in Dead Ringers reveal the centrality and staying power of remakes as a formative genre in filmmaking. The contributors show that the practice of remaking films dates back to the origins of cinema and the evolution of film markets. In fact, remakes were never so prevalent as during the Classic Hollywood period, when filmmaking had achieved its greatest degree of industrialization, and they continue to play a crucial role in the development of film genres generally. Offering a variety of historical, commercial, theoretical, and cultural perspectives on the remake, Dead Ringers is a valuable resource for students of film history and theory, as well as those interested in the cultural politics of the late twentieth century.
List of Illustrations

Acknowledgments

Notes on Contributors

1. Reviewing Remakes: An Introduction
Jennifer Forrest and Leonard R. Koos

2. Twice Told Tales: Disavowal and the Rhetoric of the Film Remake
Thomas Michael Leitch

3. Economy and Aesthetics in American Remakes of French Films
Michael Harney

4. The Personal Touch: The Original, the Remake, and the Dupe in Early China
Jennifer Forrest

5. Sound Strategies: Lang's Rearticulation of Renoir
Tricia Welsch

6. The Raven and the Nanny: The Remake as Crosscultural Encounter
Alan Williams

7. Sadie Thompson Redux: Postwar Reintegration of the Wartime Wayward Woman
Jennifer Forrest

8. Hiring Practices: Simenon/Duvivier/Leconte
Leonard R. Koos

9. Twice Two: The Fly and Invasion of the Body Snatchers
Marty Roth

10. Three Takes on Motherhood, Masculinity, and Marriage: Serreau's Trois hommes et un couffin, Nimoy's Remakes, and Ardolino's Sequel
Carolyn Ann Durham

11. Pretty Woman With a Gun: La Femme Nikita, Point of No Return, and the Textual Politics of the Remake
Laura Grindstaff

Appendix A

Remaking Le Voile bleu: An Interview with Norman Corwin, Screenwriter for The Blue Veil
Jennifer Forrest

Appendix B
Letter from Norman Corwin to Jerry Wald

Index

Sujets

Popular culture

History of film

Cinema

Film

Informations

Publié par	State University of New York Press
Date de parution	01 février 2012
Nombre de lectures	0
EAN13	9780791489635
Langue	English
Poids de l'ouvrage	11 Mo

Informations légales : prix de location à la page 0,1698€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Dead Ringers The Remake in Theory and Practice

Edited by Jennifer Forrest and Leonard R. Koos

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DEAD RINGERS

T H ES U N YS E R I E S CULTURAL STUDIES IN CINEMA/VIDEO

W H E E L E R W I N S T O N D I X O N

| E D I T O R

DEAD RINGERS  The Remake in Theory and Practice

edited by

J E N N I F E R F O R R E S T A N D L E O N A R D R. K O O S

STATE UNIVERSITY OF NEW YORK PRESS

Published by State University of New York Press, Albany

Printed in the United States of America

No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.

For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207

Production by Marilyn P. Semerad Marketing by Patrick Durocher

Library of Congress Cataloging-in-Publication Data

Dead ringers : the remake in theory and practice / edited by Jennifer Forrest and Leonard R. Koos. p. cm. Includes index. ISBN 0-7914-5169-0 (alk. paper) — ISBN 0-7914-5170-4 (pbk. : alk. paper) 1. Motion picture remakes—History and criticism. I. Forrest, Jennifer, 1958– II. Koos, Leonard R., 1958–

PN1995.9.R45 D43 2001 791.43′75—dc21

10 9 8 7 6 5 4 3 2 1

2001020010

C O N T E N T S



List of Illustrationsvii

Acknowledgmentsix

C H A P T E R O N E 1 Reviewing Remakes: An Introduction

JENNIFER FORRESTAND

LEONARD R. KOOS

C H A P T E R T W O 37 Twice-Told Tales: Disavowal and the Rhetoric of the Remake

THOMAS LEITCH

C H A P T E R T H R E E 63 Economy and Aesthetics in American Remakes of French Films

MICHAEL HARNEY

C H A P T E R F O U R 89 The “Personal” Touch: The Original, the Remake, and the Dupe in Early Cinema

JENNIFER FORREST

C H A P T E R F I V E 127 Sound Strategies: Lang’s Rearticulation of Renoir

TRICIA WELSCH

DEAD RINGERS

C H A P T E R S I X 151 The Raven and the Nanny: The Remake as Crosscultural Encounter

ALAN WILLIAMS

C H A P T E R S E V E N 169 Sadie Thompson Redux: Postwar Reintegration of the Wartime Wayward Woman JENNIFER FORREST

C H A P T E R E I G H T 203 Hiring Practices: Simenon/Duvivier/Leconte

LEONARD R. KOOS

C H A P T E R N I N E 225 Twice Two:The FlyandInvasion of the Body Snatchers MARTY ROTH

C H A P T E R T E N 243 Three Takes On Motherhood, Masculinity, and Marriage: Serreau’sTrois Hommes et un couffin, Nimoy’s Remake, and Ardolino’s Sequel

CAROLYN A. DURHAM

C H A P T E R E L E V E N 273 Pretty Woman with a Gun:La Femme Nikita and the Textual Politics of “The Remake”

LAURA GRINDSTAFF

Appendix A RemakingLe Voile bleu: An Interview with Norman Corwin, Screenwriter forThe Blue Veil309 JENNIFER FORREST

Appendix B Norman Corwin Letter to Jerry Wald

List of Contributors341

Film Title Index343

Name and Subject Index353

337

I L L U S T R A T I O N S



FIGURE5.1. Dédé (Georges Flamant) threatening Lulu (Janie Marèze) with a corrective slap in Legrand’s (Michel Simon) pied-à-terre in Jean Renoir’sLa Chienne(1931). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGURE5.2. Johnny (Dan Duryea) and Kitty (Joan Bennett) in Chris Cross’s (Edward G. Robinson) pied-à-terre in Fritz Lang’s Scarlet Street(1945). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGUREgirl Denise (Ginette Leclerc) gets ready for6.1. “Bad” Dr. Germain’s (Pierre Fresnay) professional visit in Henri-Georges Clouzot’sLe Corbeau(1943). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGURE6.2. Denise (Linda Darnell) trys to seduce Dr. Pearson (Michael Rennie) in Otto Preminger’sThe Thirteenth Letter(1951). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGURE7.1. Sadie Thompson (Gloria Swanson) surrounded by military men (including the film’s director as Sergeant Tim O’Hara) at Trader Horn’s upon her arrival on Pago-Pago in Raoul Walsh’sSadie Thompson(1928). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGURE7.2. banter with

Sadie Thompson (Joan Crawford) exchanges some Trader Horn (Guy Kibbee) upon her arrival on

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DEAD RINGERS

Pago-Pago in Lewis Milestone’sRain(1932). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGUREThompson (Rita Hayworth) with Sergeant7.3. Sadie Phil O’Hara (Aldo Ray) upon her arrival on a South Pacific island in Curtis Bernhardt’sMiss Sadie Thompson(1953). Cour-tesy of the Museum of Modern Art, Film Stills Archive.

FIGURE8.1. Shot of top-floor in which François (Jean Gabin) is holed up in Marcel Carné’sLe Jour se lève(1939). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGURE8.2. Shot of Monsieur Hire (Michel Simon) on the roofs above Villejuif in Julien Duvivier’sPanique(1947). Cour-tesy of the Museum of Modern Art, Film Stills Archive.

FIGURE9.1. Hiding the horrible transformation under a hood in Kurt Neumann’sThe Fly(1958). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGUREeach stage of the hideous metamorphosis9.2. Revealing in David Cronenberg’sThe Fly(1986). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGURE10.1. Substitute mothering in Coline Serreau’sTrois Hommes et un couffin(1985). Courtesy of the Museum of Mod-ern Art, Film Stills Archive.

FIGUREurban professionals singing a convincing lul-10.2. Three laby to the bundle of joy of Leonard Nimoy’sThree Men and a Baby (1987). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGURE11.1. Pretty woman with a gun (Anne Parillaud) in the vein of the James Bond subgenre in Luc Besson’sLa Femme Nikita(1990). Courtesy of the Museum of Modern Art, Film Stills Archive.

FIGURE11.2. A more feminine hit-woman (Bridget Fonda) with an even bigger gun acquits herself competently in her unexpected first postindoctrination job in John Badham’sPoint of No Return(1993). Courtesy of the Museum of Modern Art, Film Stills Archive.

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