Introduction: Film Remakes in the Context of European Cinema

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Figures vii
4. Notes on Contributors viii
5. Acknowledgements xi
6. Preface: Farewell, Hollywood xii
7. Introduction: Film Remakes in the Context of European Cinema 1
8. Part I Conceptual Perspectives: Delineating and Pushing the Boundaries of Remake Studies
9. 1 The Film Remake as Prism: Towards a Model of Systematic Textual Analysis 17
10. 2 The ‘Secret Remake’: A European Take on the Traditional Remake? 33
11. 3 From ‘Mini-Remake’ to Open-Ended Coda: How to Make a ‘Proper’ Homage 45
12. 4 Rainer Werner Fassbinder’s Berlin Alexanderplatz (1980) as Remake? 59
13. 5 Remakesploitation: Exploitation Film Remakes and the Transnational Giallo 73
14. Part II Historical Perspectives: Continuity and Change
15. 6 Re-forming La Maternelle: Socio-Cultural Continuity and the Remake 87
16. 7 Screening Transformation Processes: Post-War Remakes of Nazi-Era Films 103
17. 8 The Colour Remakes of Swedish Classics in the 1950s: Production, Promotion and Critical Reception in the Context of Technological Innovation 117
18. Part III Contemporary Perspectives: European Film Remakes in the New Millennium
19. 9 Remakes à la polonaise: From National Re-Adaptations to Internationally Inspired Rom-Coms 131
20. 10 Nostalgic Mediations of the Soviet Past in Nikolai Lebedev’s Remake The Crew (2016) 149
21. 11 Mistaken Identities: Millennial Remakes, Post-Socialist Transformation and Hungarian Popular Cinema 163
22. 12 Refashioning the Remake: A Bigger Splash 177
23. Part IV Industrial Perspectives: Practices of Production and Circulation
24. 13 Remake and Decline in Scottish Cinema: Whisky Galore! 1949 and 2016 193
25. 14 ‘Remakable’ Directors: The Contemporary Spanish Media Industry and Popular Discourses on Remakes and National Authorship 211
26. 15 Remakes and Globally-Oriented European Cinema: Contemporary Industrial Practices and Shifting Hierarchies 225
27. Index 240