A
Abdul, Paula, 136
A bout de souffle (1959, Breathless ), 8 , 29 , 151 fig.;
and 1983 Breathless,152 –53, 160 n3;
imagery of, 159 ;
linguistic transpositions of, 155 , 160 n4;
plot line of, 151 ;
problematic remake of, 150 ;
transfer of identity in, 154 –55
Abraham, Karl, 274 n10
Abril, Victoria, 201
Action Comics,288
Adams, Brooke, 25
Adam's Rib (1949), 170
Adaptations:
of films to comics, 281 , 282 fig., 283 , 292 n8;
of film to radio, 295 –97, 307 , 308 ;
of literary works to film, 53 , 170 n3, 295 , 296 , 333 –34n2;
mythical narratives and, 287 –90;
status of originals in, 284 –86, 292 n11;
See also M*A*S*H; Stagecoach; Translation
Adjani, Isabelle, 244 fig.
The Adventures of Robin Hood (1938), 7 , 70 –74, 72 fig., 78 n2
Adzovic, Ljubica, 176 fig., 184
African-American culture:
and The Benny Goodman Story,107 –8;
and The Jazz Singer,104 , 110 –11, 113 n9;
and The Jolson Story,106 –7;
sexuality stereotype of, 107 –8, 111 , 112 nn3,8;
and St. Louis Blues,109 ;
violence/dependency stereotype of, 105
Against All Odds (1984), 29
Aguirre, Wrath of God (1972), 245 , 249 n5
Alda, Alan, 317 , 318 , 319 , 321 , 324 , 325
Alessi, David, 231 –32n2
Allen, Karen, 117 –18
Allen, Steve, 107
Allen, Woody, 3
All in the Family (TV series), 315 , 316 , 325
Allographic arts:
vs. autographic arts, 297 –98, 330
All That Jazz (1979), 136
All the Wrong Clues (1984), 192
Allusions:
and audience recognition, 36 , 142 n1;
to cartoons, 139 –41;
conventions vs.,136 ;
essential function of, 131 ;
to fairy tales, 139 ;
film clips as, 134 , 135 , 136 ;
filmmakers' use of, 35 –38, 50 –51n2, 135 –37, 138 , 165 , 202 –4, 214 n4, 245 –46, 253 , 255 , 273 n4;
to Hitchcockian formal structures, 35 –39, 50 –51 n2;
to Hong Kong transition, 197 –98;
as remakes in miniature, 126 –27n2;
sequels' use of, 137 , 142 –43n3;
unintentional use of, 141 –42;
various forms of, 132 –34;
to world cinema, 178 –81
Almodovar, Pedro, 8 , 200 , 213 , 214 , 332 . See also High Heels
Altman, Robert, 284 , 292 n10, 310 –11, 312
Always (1990), 117 fig.;
as acknowledged remake, 126 n1;
establishing sequence of, 119 –20;
fire-fighting sequences of, 127 n3;
as ideologically vacant, 118 –19, 127 nn
4,7,8, 128 nn9,10;
leading couple of, 117 –18;
oedipal inflections of, 8 , 18 , 122 , 124 ;
tampered climax of, 120
American Indians, 300 –301, 308 n1
An Andalusian Dog (1929, Un Chien Andalou ), 218 , 222
Andersson, Bibi, 206
And God Created Woman (1957, 1987), 29
"And the Angels Sing" (song), 109
Anna Lucasta (1949, 1958), 30
Anti-Christ:
Dracula as, 265 –66
Antonioni, Michelangelo, 30
Archie's Place (TV series), 325
Architextuality, 3 . See also Intertextuality
Arkham Asylum (1989), 290
Armstrong, Louis, 113 n9
Arnaz, Lucie, 103 fig.
Assimilation. See Jewish assimilation
Audience reception:
cultural identity issues of, 15 –18, 20 ;
of M*A*S*H TV series, 313 , 315 , 317 –18;
of radio adaptations, 296 ;
recognition element of, 36 ;
semiotic field of, 25 ;
of Streisand's A Star Is Born,88 , 91 , 93 n11.
See also Spectatorship
Aufderheide, Patricia, 8
Auteur theory, 286
Authorship:
of autographic vs. allographic arts, 297 –98, 330 .
See also Originals
Autographic arts:
vs. allographic arts, 297 –98, 330
Autumn Sonata (1978), 202