H
Hackford, Taylor, 29
Hake, Sabine, 242
Hale, Alan, 74
Hall, Stuart, 16
Hallatt, May, 234 n28
Hamlet (Shakespeare), 163
Hammett, Dashiell, 4
Hampton, Lionel, 108
The Harder They Fall (1956), 154
Harriman, George, 286
Hart, Harvey, 29
Hart, James V., 273 n2, 292 n11
Harvie, William J., 23 –24
Hathaway, Henry, 29
Haver, Ron, 92 n7
Heart of Glass (1976), 245
Heaven Can Wait (1978), 126 n1
Hegel, Friedrich, 3
Henderson, Fletcher, 107 –8, 112 –13n8, 113 n9
Henry IV (Shakespeare), 133
Hepburn, Audrey, 127 n4
Her Name of Venice in Deserted Calcutta (1977, Son Nom de Venise dans Calcutta désert ), 234 –35n34
Herrmann, Bernard, 40 , 67 n3, 68 n9
Herzog, Werner, 28 , 239 , 240 , 243 –46, 262 . See also Nosferatu, the Vampyre
Hess, John, 187
High Heels (1991, Tacones Lejanos ), 8 ;
cinematic allusions in, 202 –3;
fetishistic substitution in, 210 –12;
and Imitation of Life , 200 –201, 214 n1, 332 ;
male motherhood of, 212 –14;
melodramatic modes of, 202 –4;
as postmodern remake, 200 , 202 –4;
presentation of gender in, 205 –9, 214 n2
High Society (1956), 80
His Gal Friday (1941), 30
Historical/cultural context:
of film remakes, 6 , 97 , 163 , 327 ;
identity as process and, 16 –18, 20 ;
intertextual readings vs. , 330 –32;
originality's tension with, 328 –30;
semiotic field and, 25
Hitchcock, Alfred, 7 , 29 , 30 , 35 , 50 –51n2, 193 . See also Hitchcock's films; Hitchcock's remakes
Hitchcock, Patricia, 55 , 59 , 67 n2
Hitchcok's films:
Basic Instinct and, 37 –38;
Cape Fear and, 7 , 39 , 40 , 49 –50, 333 ;
of characters' mutuality, 45 –46;
film-shooting device of, 36 –37;
moral ambiguity of, 34 –35, 43 , 49 ;
Taxi Driver and, 38 –39;
vulnerable domesticity of, 48 –49.
See also The Man Who Knew Too Much (1934)
Hitchcock's remakes:
of Albert Hall sequence, 58 , 64 –65;
as form of exchange, 67 ;
of Notorious staircase scene, 66 , 68 n11;
obsessional concerns of, 53 –54;
of "Que Sera, Sera," 66 ;
of sequences/themes, 53 ;
of transitions between shots, 52 –53.
See also The Man Who Knew Too Much (1955)
Hoberman, J., 95 , 100 , 110 , 112 n4
Hodge, Mike, 285
Hogan's Alley (cartoon series), 291 n4
Holiday Inn (1942, 1954), 30
Hollander, John, 141
Hollywood films:
criticism/admiration of, 191 –92, 196 –97;
cross-cultural makeovers of, 8 , 173 –74;
European cinema's allusions to, 178 –79, 180 –81;
Hong Kong remakes of, 192 –97;
mother/whore dichotomy of, 302
Hollywood Shuffle (1987), 191
Hollywood studios:
disguised remakes of, 126 n1;
economic motivation of, 5 , 18 ;
New Deal politics of, 70 –71;
1950's restructuring of, 81 –83, 92 –93n8
Holmlund, Chris, 8 –9, 330 , 332
Holt, J. C., 78 n2
Home Alone (1990), 134 , 139 –41, 140 fig., 142 –43n3
Home Alone 2:
Lost in New York (1992), 142 –43n3
Homosexuality:
in Damned If You Don't , 218 , 224 , 227 –28, 229 , 233 –34n25, 234 nn 31,33;
in Valie Export's films, 223 , 233 n 24;
in Strangers on a Train , 46
Honey, I Blew up the Kid (1992), 4 –5
Honeymoon in Vegas (1992), 133
Hong Kong cinema:
allusions to 1997 in, 197 –98;
as Hollywood imitations, 192 –97;
as local remakes, 193
Hooper, Tobe, 137
Hornberger, Richard (pseud. Richard Hooker), 311
Horror film genre:
perception/representation in, 258 –60;
violent sexuality of, 251 –52
The Horror of Dracula (1956, Fischer), 240 , 255 –56, 257 fig., 273 n1;
belief/disbelief aspect of, 259 ;
universal Dracula themes of, 264 , 265 , 267
Houseman, John, 58
Howard the Duck (1986), 284
Hunter, Holly, 117 fig., 117 –18, 120
Hurst, Fannie, 201
The Hustler (1961), 332
Huston, John, 5
Hutcheon, Linda, 200 , 205 , 209 , 213 , 215 n11
Huyck, Willard, 284
Hyams, Peter, 30
Hypertextuality, 3 . See also Intertextuality