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;

remakes vs.,31 , 284 ;

status of originals in, 284 –86, 292 n11;

translation vs.,284 , 290 .

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, Rick, 92 n4, 98

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

Angelopoulos, Theo, 10 , 188

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