INDEX
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
B
Back Street (1941, 1961), 332
Back to the Beach (1987), 134
Bacon, Francis, 132
Badham, John. See Dracula (1979, Badham)
Bailey, John, 142
Bailey, Pearl, 109
Bakhtin, Mikhail, 2 –3
Barbieri, Daniele, 280 –81
Barbow, John, 241
Barks, Carl, 286
Barrymore, Lionel, 29 , 127 n4
Barthes, Roland, 125 , 132 , 281
Basic Instinct (1992), 7 , 37 –38
Bass, Saul, 40
Bassnett-McGuire, Susan, 285
Batman (1988), 279 , 289 , 290
Batman myth, 289
The Battleship Potemkin (1925), 138
Baudelaire, 133
Baudrillard, Jean, 204 , 212 , 213
Baudry, Jean-Louis, 258
Beatty, Warren, 285 –86
Beauty and the Beast (1946), 273 n4
Bell-Mettereau, Rebecca, 206
Bellour, Raymond, 96 , 175 , 178
Belmondo, Jean-Paul, 151 , 151 fig.
Belton, John, 6
Ben Hur (1926, 1959), 28
The Benny Goodman Story (1955), 95 , 107 –9, 111 , 112 –13n8
Bergman, Ingmar, 8 , 162 , 164 , 202 , 249 n1. See also The Virgin Spring
Bernstein, Elmer, 40
Besson, Luc, 29
The Best Years of Our Lives (1946), 104
A Better Tomorrow (1986), 193
Biermann, Wolf, 133
The Big Sleep (1946, 1978), 29 , 30
The Birds (1963), 193
Biskind, Peter, 21
Bissell, Whit, 22
Black Cat (1992), 29
Black culture. See African-American culture
Blackface:
in The Jazz Singer remakes, 105 , 112 n7;
in The Jolson Story,106 –7
Black Like Me (1964), 112 n7
Blackmail (1929), 53
Black Narcissus (1946), 218 ;
and Damned If You Don't,226 –28;
exotic/ethnic presentation of, 225 –26, 234 nn26–28;
Friedrich's acknowledgement of, 224 ;
racist title of, 225 , 234 n29
Bloodworth, Linda, 320
Blow-up (1966), 30
The Blue Lagoon (1949, 1980), 30
Blue Velvet (1986), 168
Body Double (1984), 29
Boichel, Bill, 291 n4
Bolland, Brian, 290
Bond, Ward, 116 , 116 fig., 296 , 301
Bonnie and Clyde (1967), 317
Boorman, John, 10
Bordwell, David, 182
Bose, Miguel, 201
Boudu Saved from Drowning (1932), 191
Bram Stoker's Dracula (1992, Coppola), 9 , 240 , 252 fig., 262 , 273 nn 1,2;
anthropological reading of, 271 –72;
cinematic allusions in, 253 , 255 , 273 n4;
comic book adaptation of, 281 , 282 fig., 283 , 292 n 8;
dream quality of, 252 –53, 256 –57;
novel's adaptation of, 292 n11;
perception/representation confusion of, 258 ;
universal Dracula themes of, 264 , 265 –66, 267 , 268 –69, 270 ;
weakness/strength of, 251
Bram Stoker's Dracula (Hart and Saberhagen), 292 n11
Brando, Marlon, 175 fig., 188 –89n4
Brashinsky, Michael, 8
Brazilian cinema, 191 –92
The Breakfast Club (1985), 1
"Break It Up" (song), 229
"Breathless" (song), 158
Breathless (1959). See A bout de souffle
Breathless (1983), 29 , 152 fig., 329 ;
chiastic climax of, 158 ;
cinematic references in, 153 ;
as compromise, 150 –51;
departures from original in, 152 –53, 160 n3;
linguistic transpositions/inversions of, 155 –57;
musical subtext of, 157 –58;
plot line of, 151 –52
Breen, Joe, 19
The Bride (1985), 30
The Bride of Frankenstein (1975), 30
Broadcast News (1987), 117
Brooks, Richard, 29
Brown, Gilbert John and Lesley, 27
Brown, Joe E., 202
Brown, Judith, 229
Brown, Timothy, 313
Browning, Tod. See Dracula (1931, Browning)
Buckley, William F., 323
Buffy the Vampire Killer (1992), 240
Bukatman, Scott, 112 n6
Buñuel, Luis, 29 , 178 , 180 , 218
Buscombe, Edward, 295
Butch Cassidy and the Sundance Kid (1969), 9 , 10 , 137
Butterfly Murders (1979), 193
Byrne, John, 280
Byron, Kathleen, 226
C
Cahiers du cinema school, 286
Cannes International Film Festival, 172 , 181 , 311
Cape Fear (1962), 6 , 40 –43, 41 fig., 49 , 51 n 5, 169
Cape Fear (1991), 5 , 50 fig., 169 ;
conventional cutting in, 51 n3;
doubling structure of, 43 , 47 ;
female sexual passivity of, 44 –45;
generational-change device of, 332 ;
as genre remake, 167 ;
as Hitch-cockian reformulation, 7 , 39 , 40 , 49 –50, 333 ;
I Confess and, 45 –46;
original version vs. , 5 , 6 , 42 , 43 ;
Strangers on a Train and, 47 –48;
unstable domesticity of, 49
Captain Blood (1935), 71
Caribbean cinema, 16
Carpenter, John, 30
Carringer, Robert L., 110
Carson, Robert, 92 n6
Cartoon allusions, 139 –41. See also Comics
Cartwright, Veronica, 27
Casablanca (1942), 3
Castration fear, 271
Catholicism:
in Godfather trilogy, 186 –87.
See also Christianity
Cat's Eye (1985), 137
CBS network:
M*A*S*H series and, 315 –16, 319 –20
Censorship:
in Hong Kong, 192
Chabrol, Claude, 50 –51n2, 284 –85
The Champ (1931, 1979), 18
Chan, Jackie, 192 –93
Chandler, Raymond, 46
Chaplin, Charlie, 178
Chatman, Seymour, 96 , 174 , 328
La Chienne (1931), 29
Children of Paradise (1945), 133 –34
The Children's Hour (1961), 30
Chimes at Midnight (1967), 133
Chinese opera:
and martial arts genre, 193 , 195
Chodorow, Nancy, 208
Chow Yun-fat, 192
Christian, Barbara, 230
Christianity:
and vampire myth, 265 , 273 –74n9.
See also Catholicism
Cinderella :
as "basic story," 96
Cinema. See Film
Cinema Paradiso (1989), 179 –80
Citation effect. See Iterability structure
Citizen Kane (1941), 178
City Heat (1984), 192
Civil rights movement:
medical discourse during, 23 –25;
and use of blackface, 105
Clayton, Buck, 108
Clift, Montgomery, 45
A Clockwork Orange (1971), 136
Close Encounters of the Third Kind (1977), 119 , 121 , 123 , 124
Coal Miner's Daughter (1980), 98
Codfish (1976), 191 –92
Cohl, Emile, 291 n3
Cohn, Alfred A., 100
Cohn, Roy, 21
Cohn, Ruby, 2
Cold Hearted (1989), 136
Cole, Nat King, 109
Colman, Ronald, 58
The Color of Money (1986), 40 , 332
Columbus, Chris, 138
Comics:
adaptation of films to, 281 , 282 fig., 283 , 292 n8;
filmmakers' interest in, 280 , 291 n3, 292 n6;
film's translation of, 9 , 283 –84, 285 –86, 290 , 292 n9;
first appearance of, 291 n4;
as serious medium, 279 ;
strip vs. book, 291 n1, 292 n12;
as visual language, 280 –81
"Coming to America" (song), 104
Communist conspiracy. See Conspiracy theories
A Connecticut Yankee in King Arthur's Court (1949), 77
Connery, Sean, 77
Conspiracy theories:
and Body Snathcers films, 19 , 21 , 26 –27, 219
The Conversation (1974), 30
Cook, David, 205
The Cook, the Thief, His Wife & Her Lover (1989), 136
Cooper, Melville, 71
Coppola, Francis Ford, 4 , 9 , 30 , 172 , 174 –75, 178 , 187 , 240 , 273 n2. See also Bram Stoker's Dracula; Godfather films (I and II)
Costa-Gavras, 10
Costner, Kevin, 74 , 75 , 75 fig., 78
Count Dracula (1970, Franco), 259 , 262 , 268 , 273 nn1,2,8
Count Dracula (1977, TV adaptation), 273 nn 1 ,3
Couperie, Pierre, 291 n4
Cowie, Peter, 174
Crafton, Donald, 291 n3
violence trademark of, 164 –65, 169 , 170 n5.
See also The Last House on the Left
Crawford, Joan, 112 n7, 202 , 204
Creature from the Black Lagoon (1954), 272
Cries and Whispers (1972), 162
Crime films. See Gangster genre
Crosby, Bing, 30
Crossfire (1947), 104
Cukor, George, 29 , 81 , 92 n5, 93 n9. See also A Star Is Born (1937, 1954)
Culkin, Macaulay, 140 fig.
Cultural identity (concept):
as process, 16 –18, 20.
See also Historical/cultural context
Curtis, Dan, 273 nn 1,2,8
Curtiz, Michael, 30 , 73 , 95 , 112 n7. See also The Adventures of Robin Hood
D
Dacy, S. C., 195
Damned If You Don't (1987), 225 fig., 227 fig.;
Black Narcissus implant in, 224 –26, 227 –28, 234 n31;
equivocal referents of, 229 –30, 234 n33;
ethnic restraint of, 225 –26;
framing/costuming of, 228 ;
lesbian desire in, 218 , 224 , 227 –28, 229 , 233 –34n25, 234 nn31,33;
racism/sexism linkage of, 226
Dances with Wolves (1990), 74 , 78
Dangerous Encounters—First Kind (1980), 198
The Dark Knight Returns (1986), 289
Day, Doris, 59 , 65 fig., 67 n3, 112 n7
Day for Night (1973), 179
Dead/undead theme:
of Dracula films, 263 –64, 273 n6
Dean, James, 121
Dee, Sandra, 201
The Deer Hunter (1978), 193 , 196
De Havilland, Olivia, 72 , 72 fig.
Delamater, Jerry, 7
Del Zio, John, 27 –28
DeMille, Cecil B., 28
De Niro, Robert, 2 , 6 , 50 fig.
Denshaw, Pat, 74 –75
De Palma, Brian, 29 , 37 , 135 , 138
Derrida, Jacques, 8 , 148 , 158 , 159
Desser, David, 99
DeVito, Danny, 30
Dialogue:
in theater vs. cinema, 298 –300
Diamond, Neil, 95 , 103 fig., 104 , 105 , 111
Diary of a Chambermaid (1946, 1964), 29
Dick Tracy (1990), 285 –86, 288
Diderot, Denis, 3
Didion, Joan, 92 n6
Die Hard (1988), 134
Dietrich, Marlene, 44
Director. See Film director
The Dirty Dozen (1967), 193 , 194 , 195 –96
Disease:
desegregation tied to, 23 –25;
in Dracula films, 244 , 263 –64
Dmytryk, Edward, 29
Doane, Mary Ann, 214
Dockstader, Lou, 106 –7
Dominant cinema. See Hollywood films
Donner, Richard, 29
Dorfman, Ariel, 127 n7
Doubling structure:
of I Confess , 45 ;
of The Man Who Knew Too Much films, 55 –56, 62 , 66 , 68 n10;
moral ambiguity of, 43 ;
of Stage Fright , 44 ;
of Strangers on a Train , 46 –47
Douglas, Michael, 38
Down and Out in Beverly Hills (1986), 191
Do You Remember Dolly Bell? (1981, Sjecas Li Se Dolly Bell? ), 180 , 183 , 188
Dracula (1931, Browning), 240 , 245 , 256 fig., 273 n1;
belief/disbelief theme of, 259 , 260 ;
dream quality of, 255 ;
Stoker's story elements and, 261 , 262 –63;
universal Dracula themes of, 265 , 267 , 270
Dracula (1973, TV adaptation), 273 nn1,8
Dracula (1979, Badham), 29 , 240 , 249 n4, 253 fig., 256 , 273 n1;
mental institution of, 260 ;
as romanticization, 252 , 273 n3;
Stoker's story elements and, 261 , 262 , 263 ;
universal Dracula themes of, 265 , 266 , 267 , 270
adaptations of, 241 –42, 249 n2, 250 , 273 nn1,2;
belief/disbelief aspect of, 258 –59;
universal Dracula themes of, 264 , 267
Dracula films:
anthropological reading of, 251 , 271 –72;
anti-Christ theme of, 265 –66;
dead/undead theme of, 263 –64, 273 n6;
development of Dracula figure in, 261 –63;
dream quality of, 252 –53, 255 –58;
inversion of motherhood in, 269 –71, 274 n10;
perception/representation in, 258 –60;
sexual repression theme of, 266 –68
Dracula Has Risen from the Grave (1968), 269
Dracula myth:
bestial ties of, 272 , 274 n14;
films' development of, 261 –63;
transcendent significations of, 250 –51, 270 ;
undifferentiated gender of, 271 , 274 nn12,13.
See also specific Dracula films ; Dracula films; Vampires
"Dramedy" genre, 316 –17
Dreaming:
in Dracula films, 252 –53, 255 –57;
spectatorship and, 257 –58
Dream On (HBO series), 136
Dreyfuss, Richard, 117 fig., 117 –18, 120
Druxman, Michael B., 126 n1
Dryden, John, 2
Duchamp, Marcel, 132
Dujmovic, Davor, 176 , 176 fig., 183
Dunne, John Gregory, 83 , 92 n6
Duras, Marguerite, 234 –35n34
Dyer, Richard, 84
E
Eastern Condors (1986), 193 –95, 196 –98
East Lynne (ca. 1903), 332
East of Eden (1955), 29 , 121 –22, 128 n13
Easy Rider (1969), 169
Eberwein, Robert, 7 , 126 –27n2, 233 n16, 284 , 328 , 329
Eco, Umberto, 287 –88, 293 nn15,16, 331
Edwards, Blake, 115 , 126 –27n2
Edwards, Robert, 27
Ehrenreich, Barbara, 78 n3
Eisenhower, Dwight D., 22
Eisner, Will, 286
Ellis, John, 238 –39
Elman, Ziggy, 109
Emmy Awards, 316
Empire of the Sun (1987), 115
Erice, Victor, 245
"Evergreen" (song), 89
Every Cloud Has a Silver Lining (1960), 192
The Exorcist (1973), 273 n4
Export, Valie, 9 , 218 , 219 , 221 –22, 223 , 233 n21. See also Invisible Adversaries
F
Fairbanks, Douglas, 70
Fairy tale allusions, 139
Fairy tale musical, 92 n4, 98 . See also Musical remakes
Farewell, My Lovely (1975), 29
Farrar, David, 226
Farrell, Mike, 322
Fassbinder, Rainer Werner, 202
Fatal Attraction (1987), 49
Faulkner, William, 23 , 152 , 153
Fell, John, 280
Fellini, Federico, 124 , 280 , 292 n6
Feminist critique:
of female fetishism, 211 ;
of postmodernism, 209 –10, 213 , 215 n11
Femme fatale cliché, 214
La Femme Nikita (1990), 29
Ferrara, Abel, 16
Fetishism:
bestial origins and, 271 –72;
foot, 208 –9;
motherhood and, 210 –12
Fiction. See Novel, the
Field, Sally, 324
Film:
centennial celebration of, 10 ;
comics' adaptation of, 281 , 282 fig., 283 , 292 n8;
cultural identity issues of, 16 –18, 20 ;
dialogue/gesture relationship in, 299 –300;
imagery's significance to, 132 –33;
iterability structure of, 147 –48, 149 , 154 ;
life span of, 310 ;
perception/representation in, 258 ;
presence/absence paradigm of, 238 –39, 242 –43, 245 –46;
prose fiction and, 286 ;
radio's promotion of, 295 –97, 307 –8;
self-referentiality of, 242 , 248 ;
semiotic field of, 25 ;
television's ties to, 179 –80, 311 ;
translation of comics to, 9 , 283 –84, 285 –86, 290 ;
use of allusion in, 35 –38, 50 –51n2.
See also Film originals; Film remakes; Foreign films; Hollywood films
Film clips:
as cinematic allusions, 134 , 135 , 136
Film director:
auteur theory of, 286 ;
as celebrity, 35
radio-program role of, 296 –97, 307 –8
Film originals:
cultural identity issues of, 15 –18, 20 ;
indeterminate status of, 230 , 231 ;
oedipal significance of, 8 , 125 –26, 129 nn15–17, 329 ;
remake categories based on, 126 n1;
re-representation of, 2 , 5 –6, 173 –74;
semiotic field of, 25
Film remakes:
canonized vs. popular sources of, 284 –85;
categories of, 126 n1;
as cross-cultural makeovers, 4 –5, 8 , 172 –73;
of director's own work, 52 , 67 n1;
of foreign films, 5 , 8 , 149 –51, 171 n8;
historical/cultural context of, 6 , 16 –18, 20 , 97 , 163 , 327 –28, 329 ;
intertextual processes of, 2 –5;
iterability structure of, 147 –48, 149 , 154 ;
motivations for making, 5 –6, 18 –19, 115 , 126 nn1,2, 328 ;
as mythmaking expression, 166 –67, 328 ;
oedipal inflections of, 7 –8, 18 , 125 –26, 129 nn16,17, 182 , 329 , 332 ;
re-representation process of, 2 , 5 –6, 173 –74;
semiotic field of, 25 ;
and sequels-series films, 91 –92n1;
unexamined aspects of, 332 –33, 334 n3.
See also Film; Adaptations; Allusions; Makeovers; Musical remakes; Translation
First Blood (1982), 170
Fisher, Terence. See The Horror of Dracula (1956, Fischer)
A Fistful of Dollars (1964), 29 , 170
Fitzcarraldo (1982), 134
Five Easy Pieces (1970), 134
Flash Gordon (1936 film serial), 285
Flash Gordon (1980), 285
The Flintstones (1994), 29
The Fly (1958, 1986), 169
Folklore:
"basic story" of, 96
Folk musical, 92 n4, 98 . See also Musical remakes
Fonda, Henry, 296
Fonoroff, Paul, 192
Foot fetishism, 208 –9. See also Fetishism
Ford, Harrison, 117
and codes of behavior, 305 ;
Kusturica's ties to, 180 –81;
radio-adapted films of, 295 ;
radio-program role of, 296 –97, 300 ;
as television director, 307 ;
use of offscreen space by, 305 –6.
See also Stagecoach (1939)
Foreign films:
erased subtitles of, 148 –49, 150 ;
Hollywood remakes of, 5 , 8 , 149 –51, 171 n8;
as homage to world cinema, 8 , 178 –81;
iterability structure of, 149 , 160 n1;
resistance/fascination strategies of, 191 –92, 196 –97
Fort Apache (radio adaptation), 295 , 296
Foucault, Michel, 25
The 400 Blows (1959), 179
Fox Television, 315
Franco, Jess. See Count Dracula (1970, Franco)
Franz, Edward, 102
on female development, 215 n9;
on repetition compulsion, 251 ;
on subjective perceptions, 259
Friedrich, Caspar David, 245
Friedrich, Su, 8 –9, 218 , 228 , 232 nn6,7, 233 –34n25. See also Damned If You Don't
The Front Page (1931), 30
Frost, Robert, 142
Fuchs, Wolfgang, 291 n4
Furst, Anton, 290
G
Gabbard, Krin, 7 , 328 –29, 330 , 331 , 332 , 333
Gance, Abel, 133
Gangster genre:
allusions to, in New Jack City , 135 –36;
Godfather films' rewriting of, 174 –76
Garber, Marjorie, 217 , 223 , 231 , 231 nn1,2, 233 n19
García Márquez, Gabriel, 177 , 178 , 183
Garland, Judy, 81 , 83 , 84 , 85 , 85 fig., 88 , 91
Garner, James, 1
Garrett, Betty, 80
Gates, Larry, 22
Gavin, John, 202
Gaynor, Janet, 81 , 82 , 82 fig., 83 , 84 , 85 , 91 , 93 n10
Geissendörfer, Hans W., 264
Gelbart, Larry, 317 , 318 –19, 320
Gender:
artificial alterations of, 217 –18, 231 n1;
in Damned If You Don't , 226 –30, 234 nn31,33;
and desire, 224 ;
in High Heels , 205 –9, 214 n2;
and identity, 230 –31;
implications of, on remakes, 8 –9, 332 ;
in Invisible Adversaries , 220 –24, 233 nn19,20;
reversed roles of, in A Star Is Born , 84 , 90 –91, 98 ;
transformed categories of, 9 , 202 , 205 –9, 211 –14.
See also Motherhood; Women
Genette, Gerard, 3
Genre:
as formula for myth, 167 , 170 –71n7;
Hong Kong's transformation of, 193 ;
postmodern hybridization of, 204 ;
remake as subcategory of, 331 ;
television's expectations of, 316 –17
Gentlemen's Agreement (1947), 104
Georgakas, Dan, 7
German cinema, 242 , 243 , 245
Geronimo (1939), 30
Ghostbusters (1984), 30
Ghostlusters (1991), 30
Giroux, Henry A., 173
Gitlin, Todd, 179
Glass, Philip, 157
Godard, Jean-Luc, 8 , 29 , 150 , 152 , 154 –55, 157 , 204 . See also A bout de souffle
Goddard, Paulette, 30
The Godfather (1972), 4 , 135 , 172 , 175 fig., 183
Godfather films (I and II), 172 , 175 fig.;
ambivalent Catholicism of, 186 –87;
and New Jack City , 135 ;
patriarchal culture of, 185 , 186 ;
as rewritten gangster genre, 174 –76;
and Time of the Gypsies , 177 , 183 –87;
tragic cinematic tone of, 178
Goldman, William, 9
"Goodbye" (song), 109
Goodfellas (1991), 37
Goodman, Benny, 107 –9, 112 –13n8
Goodman, John, 116
Gothic realism:
magic realism vs. , 177 –78
"Gotta Have Me Go with You" (song), 84 , 85 –86
Gould, Chester, 285
Granger, Stewart, 93 n9, 234 n27
The Grapes of Wrath (1940), 180
The Great Ecstasy of Woodsculptor Steiner (1974), 245
The Great Train Robbery (1905), 134
Greenberg, Harvey, 8 , 18 , 182 , 329 , 333
Greene, Graham, 52
Greenway, Peter, 10
The Grey Fox (1982), 134
Grosz, Elizabeth A., 211
Guardian Angel (1987), 181
Gun Crazy (1949), 156
The Guns of Navarone (1961), 193 , 195
A Guy Named Joe (1943), 8 , 115 –16, 116 fig., 118 , 120
Gypsies, 176 , 177 –78, 181 , 183 , 184 –85
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
I
"I Believe in Love" (song), 89
I Confess (1953), 40 , 44 , 45 –46
I Have Even Met Happy Gypsies (1967), 181
Imagery:
cinematic importance of, 132 –33;
presence/absence paradigm of, 238 –39, 242 –43, 245 –46, 258 ;
written word and, 154 –55
Imitation of Life (1959), 8 , 200 –201, 202 –3, 203 fig., 212 , 214 n1, 332
Indiana Jones and the Last Crusade (1989), 115 , 128 n13
Indiana Jones and the Temple of Doom (1984), 137 , 191
India Song (1976), 234 –35n34
Inge, Thomas M., 291 nn3,4
Ingres, Jean-Auguste-Dominique, 133
Intermarriage:
Intermezzo (1936), 30
Intertextuality:
film remakes and, 4 –5;
Genette's categories of, 3 –4;
Kristeva's notion of, 2 –3;
as modernist technique, 39 , 40 ;
postmodern aesthetic of, 8 , 200 , 201 –2.
See also Adaptations; Allusions; Film remakes; Translation
Invasion of the Body Snatchers (1956), 17 fig., 30 ;
bomb paranoia and, 31 n4;
cultural identity issues and, 15 –18;
gender politics of, 220 , 232 n15;
historical context of, 21 –25;
and Invisible Adversaries , 219 –20, 221 , 222 , 233 n17, 233 n18;
unacknowledged release of, 19 –20
Invasion of the Body Snatchers (1978), 15 , 20 fig., 30;
cultural identity issues and, 16 –17;
historical context of, 25 –28;
reasons for making, 19
Invisible Adversaries (1976, Unsichtbare Gegner ), 218 ;
chaotic film style of, 220 , 233 n18;
gendered subjectivity and, 220 –21, 223 –24, 230 , 233 n20;
necessary spectatorship of, 223 , 233 n23;
opening sequence of, 220 , 233 nn16, 17 ;
performance pieces in, 221 –22, 233 n21;
totalitarianism fears in, 219 , 232 n11
Island of Lost Souls (1933), 272
Iterability structure, 147 –48, 149 , 154 ;
as
inversions, 156 –57;
of popular narrative, 288 ;
repetition compulsion and, 251
"It's a New World" (song), 90
It's a Wonderful Life (1946), 134
Ivanhoe (Scott), 78 n2
Ivory, James, 10
J
Jackson, Michael, 217 , 231 –32n2
Jacobs, Lea, 19
James, Henry, 52
Jameson, Frederic, 119 , 127 n8, 128 nn9,10
JanMohamed, Abdul, 231
Jarreau, Al, 112 n5
The Jazz Singer (1927), 7 , 101 fig.;
as appropriation of black music, 110 –11, 113 n9;
biopics' faithfulness to, 105 –6, 107 , 108 , 109 –10, 111 , 329 ;
female variants of, 98 , 112 n3;
as first show musical, 98 –99;
plot elements of, 97 –98;
reconciliatory conclusion of, 98 –101;
The Jazz Singer (1952), 7 , 101 –5, 102 fig., 112 n7
The Jazz Singer (1959 TV production), 104 , 112 n6
The Jazz Singer (1980), 7 , 101 –2, 102 fig., 104 , 105 , 112 n5
Jenkins, Gordon, 109
Jennings, Wade, 93 n13
Jewish assimilation, 95 , 97 , 99 . See also Reconciliation
JFK (1991), 26
Johnson, Brad, 117 fig.
Johnson, Van, 116 , 116 fig., 120
Jolson, Al, 95 , 97 , 101 fig., 106 –7, 110
The Jolson Story (1946), 95 , 106 –7
Jonathan (1970), 264
Jonestown suicide, 25 –26
Jourdan, Louis, 273 n3
K
Kael, Pauline, 26
Kaprisky, Valérie, 151 , 152 fig.
Karanovic, Srdjan, 181
Kashishian, Alex, 30
Kaufman, George S., 310
Kaufman, Philip, 19 , 26 , 27 , 30 , 169 . See also Invasion of the Body Snatchers (1978)
Kawin, Bruce, 243
Kazan, Elia, 29
Keaton, Diane, 186
Kefauver, Estes, 22
Kehr, David, 200 , 204 , 214 n4
Kellerman, Sally, 312
Kerr, Deborah, 226
Kiernan, Joanna, 233 n23
Kill or Run (1954), 191
King, Martin Luther, Jr., 26
King, Stephen, 137
King Kong (1933), 272
Kinski, Klaus, 240 , 244 –45, 244 fig., 245 , 255 fig., 263
Kiss Me Again (1925), 28
Klein, Melanie, 274 n13
Kleiser, Randal, 30
Kohner, Susan, 201
Konigsberg, Ira, 9 , 328 , 330 –31
Korngold, Erich Wolfgang, 74
Kors, Alan C., 78 n3
Kowal, Patricia, 285 –86
Kristeva, Julia, 2 –3
Kristofferson, Kris, 84 , 85 , 89
Kroker, Arthur, 205
Kubrick, Stanley, 136
Kusturica, Emir, 4 , 8 , 172 ;
on magic realism, 177 –78;
oedipal narratives of, 182 –83;
realist/surrealist vision of, 180 –81.
See also Time of the Gypsies (1989)
L
Lady for a Day (1936), 18 , 28
Langella, Frank, 240 , 253 fig.
Lardner, Ring, Jr., 312
The Last House on the Left (1972), 8 , 168 fig.;
antisuburban myth of, 167 –69;
plot line of, 164 ;
as uncredited remake, 162 , 163 ;
The Last Laugh (1924), 243
The Last Temptation of Christ (1988), 39 –40
Laugh track:
Launder, Frank, 30
LaValley, Albert, 19 , 232 n10
Laven, Arnold, 30
Lee, Christopher, 240 , 255 –56, 257 fig., 268 , 270
Lee, Peggy, 102 fig., 104 , 109
Lee, Spike, 10
Lee, Stan, 292 –93n14
Legion of Decency, 19
Lehman, Peter, 9 , 126 –27n2, 330 , 331
Leone, Sergio, 29
Lesbianism. See Homosexuality
Lesser, Wendy, 68 n9
Lethal Weapon films, 76
Levant, Brian, 29
Levine, Lawrence, 285
Lévi-Strauss, Claude, 287
Levy, Eugene, 112 n5
Lewis, Jerry, 95 , 104 , 112 n6
Lewis, Joseph H., 156
Literary works:
cinematic allusions to, 133 ;
film adaptations of, 53 , 170 n3, 295 , 296 , 333 –34n2;
intertextuality of, 2 –3;
revisions of, 52 .
See also Novel, the
"Little Red Riding Hood," 139
A Little Romance (1979), 137
The Lives of a Bengal Lancer (1935), 29
Lloyd, David, 231
The Long Goodbye (1973), 112 n7
Lorre, Peter, 56 , 57 fig., 245
Lowell-Rich, David, 29
Lubitsch, Ernst, 28
Lucy, Autherine, 23
Luft, Sid, 83
Lugosi, Bela, 240 , 245 , 256 fig., 263 –64, 268
Luhr, William, 126 –27n2
Lumière and Company (1995, Lumière et Compagnie ), 10
Lumière brothers, 280
Lyon, Elizabeth, 233 n20
M
McAvoy, May, 101 fig.
McBride, Jim, 8 , 29 , 150 , 152 , 329 . See also Breathless (1983)
McCarthy, Joseph, 21
McCarthy, Kevin, 17 , 17 fig., 22 , 220
McCay, Winsor, 286
MacDonald, Scott, 233 –34n25, 234 n33
McEwan, Geraldine, 76
McHale, Brian, 206
McKean, Dave, 290
McShane, Michael, 76
Madame Bovary (1991), 285
Madame X (1929, 1937, 1966, 1981), 29 , 332
Madonna, 112 n3
Magic realism:
vs. gothic realism, 177 –78;
The Magnificent Seven (1960), 4 , 170
Makeovers:
as covert remake, 174 ;
multicultural allusions of, 172 –73, 178 –82.
See also Film remakes; Time of the Gypsies
The Maltese Falcon (1941 film), 5
Maltin, Leonard, 163
"Mammy" (song), 99 , 100 , 110
Manara, Milo, 292 n6
"The Man That Got Away" (song), 84 , 85 fig., 88
The Man Who Knew Too Much (1934), 5 , 29 , 52 , 57 fig.;
dissatisfaction with, 58 –59, 333 ;
doubling structure of, 55 –56;
performance/spectatorship in, 54 ;
two climaxes of, 56 –57
The Man Who Knew Too Much (1955), 5 , 7 , 29 , 52 , 65 fig.;
Albert Hall sequence of, 64 –65;
doubling structure of, 62 , 66 , 68 n10;
locale/protagonists of, 59 ;
musical performances of, 61 , 63 , 64 , 65 –66;
oedipal dynamics of, 59 –60, 62 , 63 –64;
recognition scene in, 62 , 67 n5;
resolved marital tension of, 66 –67;
unstable identity in, 59 , 60 –61, 62 , 63 , 64 , 67 nn3,4
Marnie (1964), 38
Marshall, George, 296
Marx, Groucho, 182
The Mary Tyler Moore Show (TV series), 315 , 316
M*A*S*H (1970), 311 –14, 314 fig.
M*A*S*H (TV series), 315 fig.;
audience reception of, 313 , 315 , 317 ;
creativity/
experimentation of, 311 , 317 –19;
Emmy Awards to, 316 ;
network resistance to, 315 –16, 319 –20;
sentimentalization of, 324 –25;
shifted emphasis of, 316 –17, 320 –21, 324 ;
Vietnam War and, 323 –24
MASH (Mobile Army Surgical Hospital), 311 , 320
Massey, Raymond, 121
Mast, Gerald, 162
Mastrantonio, Mary Elizabeth, 77
Mathieu, Georges, 220
Matusow, Harvey M., 21
The Maury Povich Show (TV series), 206 , 214 n6
Maverick (1994), 1 , 9 –10, 29
Mayerik, Val, 284
Mayne, Judith, 248
Mazursky, Paul, 191
Medical discourse:
on abortion, 27 –28;
of anti-integrationists, 23 –25;
on polio vaccine, 21 –22
Melford, George, 273 n1
Melodramatic elements:
heterosexuality as, 224 ;
of High Heels , 202 –3;
of A Star Is Born , 84 , 88 , 89 –90
The Melody Haunts My Memory (1980, Samo Jednom Se Ljubi ), 180 , 181
Melrose Place (TV series), 1
Melton, Gordon J., 263 , 273 n6
The Men (1950), 104
Menjou, Adophe, 82 fig.
Menschenfrauen (film), 233 nn21,24
Metatextuality, 3 . See also Intertextuality
Metz, Christian, 132 , 238 –39, 243 , 246 , 248
Mihic, Goran, 177 , 181 , 188 n2
Mildred Pierce (1945), 202
Milk, Harvey, 26
Miller, Robert Ellis, 29
Miller, Seton I., 71
Miracle on 34th Street (1947), 134
Misogyny:
linguistic otherness and, 155 ;
of 1956 Body Snatchers , 220 , 232 n15
Mr. Canton and Lady Rose (1989), 193
Mitchum, Robert, 2 , 6 , 40 , 41 fig., 332
Modleski, Tania, 38
Molander, Gustav, 30
Mommie Dearest (1981), 204
Moore, Juanita, 201
Moore, Marianne, 52
Morgan! (1966), 136
Morrison, Grant, 290
Morton, Jelly Roll, 113 n9
Moscone, George, 26
Motherhood:
Dracula myth's inversion of, 269 –71;
fetishism and, 210 –12;
masculine reproduction of, 212 –14;
Oedipal dynamics and, 207 –9.
See also Women
Murder, My Sweet (1944), 29
Murnau, F. W., 28 , 239 , 240 , 249 n2. See also Nosferatu: A Symphony of Horror
Murphy Brown (TV series), 325
Musical performance:
allusions to, 134 ;
as Breathless subtext, 157 –58;
defined as remake, 68 n9;
as exploration of stardom, 83 , 84 –85, 86 , 88 , 90 ;
Hitchcock's use of, 61 , 63 , 64 , 65 –66
Musical remakes, 7 ;
love duets of, 89 ;
reconciliatory conclusion of, 98 –100;
types of, 80 –81, 91 –92n1, 92 nn2–4
My Blue Heaven (1990), 134
My Own Private Idaho (1991), 133
My Sister Eileen (1955), 80
The Mystery of Kasper Hauser (1974), 245
Myth:
of American inclusiveness, 100 –101;
of American suburb, 167 –69;
comics as, 287 –90, 292 –93n14;
of creation, 184 –85;
genre's formulation of, 167 , 170 –71 n7;
iterative mechanism of, 288 ;
originality notion and, 287 –89;
popular vs. classical, 167 , 170 –71n7;
remake's bond with, 166 –67, 328 ;
of stardom, 82 –83.
See also Dracula myth
McGilligan, Patrick, 92 n5
N
Narratives:
deep structure vs. cultural contexts of, 96 –97;
Hitchcock's formal construction of, 34 –35;
myth vs. novel, 287 –88;
oedipal thrust of, 125 ;
overt vs. covert, 174
Nash, Jay Robert, 285
Native Americans, 300 –301, 308 n1
Naughty Cadets on Patrol (1986), 192
NBC Theatre. See Screen Directors Playhouse
Nelson, Ralph, 95
New Jack City (1991), 135 –36
Newman, David, 284 , 285 , 287 , 289 , 328 , 330
Newman, Paul, 332
Ngor, Haing S., 194
Niblo, Fred, 28
Nichols, Bill, 4
Nigerian cinema, 192
Nightmare on Elm Street (1984), 49 , 169
Nimoy, Leonard, 25
1941 (1979), 115
Ninotchka (1939), 80
Nitzsche, Jack, 157
Noiret, Philippe, 179
North by Northwest (1959), 53 , 56
Nosferatu (term), 263 , 273 n6
Nosferatu:
A Symphony of Horror (1922), 28 , 254 fig., 262 , 273 n1;
as adaptation of novel, 241 –42, 249 n2;
dream quality of, 255 ;
Herzog's transformation of, 243 –45;
presence/absence devices of, 239 , 242 –43;
reproduced copies of, 241 ;
universal Dracula themes of, 263 , 265 , 266 , 267
Nosferatu, the Vampyre (1979), 28 , 244 –47, 244 fig., 247 fig., 255 fig., 262 , 273 n1;
dream quality of, 255 ;
literary/cinematic allusions of, 245 –46, 246 –47;
presence/absence devices of, 239 , 245 –46, 249 n5;
self-reflexivity of, 241 , 248 ;
as transformation of original, 240 –41, 243 –46, 249 n3;
universal Dracula themes of, 263 , 265 , 266 , 267
Notational system:
of allographic arts, 297 –98;
in theater vs. cinema, 298 –99
Notorious (1946), 38 , 66 , 68 n11
Novel, the:
comics vs.,287 –88;
film and, 286 .
See also Literary works
Nyby, Christian, 30
Nykvist, Sven, 165
O
O'Brien, Geoffrey, 192
Obsession (1976), 29
Oedipal narrative:
of Always, 8 , 18 , 117 fig., 122 , 124 ;
of La Bamba,110 ;
of Close Encounters,124 ;
of Dracula films, 268 –69;
of East of Eden,121 –22;
of High Heels,207 –9;
of Indiana Jones,124 , 128 n13;
of The Jazz Singer 1927, 96 , 97 ;
of Kusturica's films, 182 –83;
of The Man Who Knew Too Much 1955, 59 –60, 62 , 63 –64;
reconciliatory conclusion of, 98 –100;
remakes' ties to, 7 –8, 18 , 125 –26, 129 nn16,17, 182 , 329 , 332 .
See also Reconciliation
Oland, Warner, 192
Oldham, Gary, 252 fig., 266 , 274 n12
Oliver, King, 113 n9
Olivier, Laurence, 104
"One More Look at You" (song), 89 , 90
"Openings" (musical theme), 157 , 158
Originals:
autographic arts as, 297 –98, 300 ;
history's tension with, 328 –30;
literary works as, 295 , 296 ;
mythological narrative and, 287 –89;
status of, in adaptations, 284 –86, 289 –90, 333 –34n2.
See also Film originals
Orpheus (1949), 273 n4
Ortega y Gasset, José, 163
Ostrander, John, 292 –93n14
Outland (1981), 30
Out of the Past (1948), 29
Overture to Glory (1940), 100
P
Pacific Heights (1990), 49
Panofsky, Erwin, 132
Paramount decrees (1948), 81
Paratextuality, 3 . See also Intertextuality
Paredes, Marisa, 201 , 202 204
Parker, Charlie, 104
Parks, Rosa, 23
Paskalovic, Goran, 181
Pavlovic, Zivojn, 181
Peck, Gregory, 40 , 41 fig., 195 , 332
Peckinpah, Sam, 169
Peirce, Charles Sanders, 132
Peking Opera Blues (1986), 198
Pennies from Heaven (1981), 92 n3
Performance pieces:
in Valie Export's films, 221 –22, 233 n21
Persona (1966), 249 n1
Peters, Edward, 78 n3
Petria's Wreath (1980), 181
Petrovic, Alexander, 181
Pettersson, Brigitta, 166 fig.
Philadelphia Story (1940), 80
Phillips, Lou Diamond, 109
Pidgeon, Walter, 81
Pierson, Frank, 29 , 92 n6. See also A Star Is Born (1976)
Place, Mary Kay, 320
Plastic surgery:
and film remakes, 218
A Pocketful of Miracles (1961), 18 , 28 , 193
Point of No Return (1993), 29
Police Academy (1984), 192
Poltergeist (1982), 137
Poltergeist II (1986), 137
Popular culture:
cinematic allusions to, 133 –34;
as ideologically vacant, 119 , 128 n10;
mythological model of, 287 –89;
sentimentalized icons of, 324 –25;
translation of originals from, 285 –86, 288 –91
Porter, Lewis, 111 –12n1
Postergeist (1982), 168
Postmodernism:
deoedipalizing urge of, 329 ;
feminist critique of, 209 –10, 213 , 215 nn9,11;
gender presentation of, 202 , 205 –9;
hybridization characteristics of, 203 –4;
privileged masculinity of, 212 –14;
radical intertextuality of, 8 , 200 , 202
Poststudio era, 82 –83, 333 . See also Hollywood studios
Powell, Michael, 39 , 224 , 228 , 234 nn26–28
Prénom Carmen (1983, First Name Carmen ), 157
Presence/absence paradigm, 238 –39, 242 –43, 245 –46;
and perception/representation, 258
Pressburger, Emeric, 228 , 234 n28
The Pride of the Marines (1945), 104
Propp, Vladimir, 243
Psycho (1960), 29 , 35 , 67 n2, 68 n8;
as articulation of despair, 41 –42, 48 , 49 ;
Cape Fear 1962 and, 40 –41, 42 ;
doubling structure of, 43 ;
Taxi Driver and, 38 –39
Pursey, Everett, 22
Puttnam, David, 180
Q
Quayle, Dan, 325
"The Queen Bee" (song), 85 , 86
"Que Sera, Sera" (song), 63 , 66
Quinlan, Cathy, 229
R
Rabinowitz, Peter J., 142 n1
Race:
artificial alterations of, 217 –18, 231 –32n2;
in Black Narcissus,226 , 234 n29;
identity and, 230 , 234 –35n34;
medical discourse tied to, 23 –24;
oedipal/assimilation dynamics and, 97 ;
sexism and, 226 ;
Stagecoach 's perspective on, 300 –301, 308 n2.
See also African-American culture
Radio adaptations, 9 ;
film director's role on, 296 –97, 307 –8;
film stars in, 295 –96;
of story elements/dialogue, 307 .
See also Stagecoach (radio adaptation)
Raiders of the Lost Ark (1981), 115 , 117 –18, 134 , 137
Rain (1932), 29
Raine, Norman Reilly, 71
Rains, Claude, 68 n11, 72 , 74
Rank, Otto, 274 n11
Raphaelson, Samson, 100
Rapper, Irving, 30
Raskind, Dick (pseud. Renée Richards), 217 , 231 n1
Ratoff, Gregory, 30
Ray, Robert B., 100
Raymond, Alex, 285
Rayns, Tony, 197
Rear Window (1955), 29 , 61 , 67 n5
Rebecca (1940), 58
Reconciliation:
of La Bamba,110 ;
of The Benny Goodman Story,108 –9;
of The Jazz Singer films, 98 –100, 101 –4;
of The Jolson Story,106 ;
as myth of inclusiveness, 100 –101;
as revolt against tradition, 110 ;
of St. Louis Blues,109 ;
television parodies of, 112 n5;
as unresolved dilemma, 104 , 112 n6
Reed, Carol, 142 –43n3
Reinterpretations, 80 –81, 92 n3. See also Musical remakes
Reitberger, Reinhold, 291 n4
Reitman, Ivan, 30
Remakes. See Film remakes
Renunciation theme, 116
Repetition compulsion, 251 . See also Iterability structure
Resnais, Alain, 240
Reville, Alma (Mrs. Alfred Hitchcock), 59
Reynolds, Kevin, 74
Rich, B. Ruby, 210
Richards, Dick, 29
Rickman, Alan, 76
Roberts, Pernell, 322
Robin (1922), 70
Robin and Marian (1976), 77
Robin Hood:
Prince of Thieves (1991), 7 , 75 fig.;
critical reaction to, 78 ;
failed elements of, 75 –77, 78 n3;
political agenda of, 70 , 74 –75
Robin Hood TV series, 70 , 78 n1
Robson, May, 82 fig.
Rocky (1976), 134
The Rocky Horror Picture Show (1975), 202
Roddam, Frank, 30
Rodrig, Antonio, 234 n28
Roeg, Nicholas, 29
Rogin, Michael, 95 , 97 , 110 –11, 113 n9, 329
Rohmer, Eric, 50 –51n2
Romero, George, 169
Rookie of the Year (TV drama), 307
Roosevelt, Franklin D., 70
Ropars, Marie-Claire, 150 , 155
Rosenblatt, Josef, 98 , 111 –12n1
Ross, Stanley Ralph, 285
Runyon, Damon, 18
Ryan, Michael, 20
S
Saberhagen, Fred, 292 n11
Saboteur (1942), 53
Sabu, 226
Sadie Thompson (1928), 29
St. James, Gaylord, 164
St. Louis Blues (1958), 95 , 109 , 111
Salk, Jonas, 21 –22
Samuels, Stuart, 31 n4
Sander, Helke, 233 n22
Sandrich, Mark, 30
Sauve qui peut (la vie) (1979, Every Man for Himself ), 157
Scarface (1932), 29
Scarlet Street (1945), 29
Schickel, Richard, 17
Schmidt-Reitwein, Jorg, 245
School desegregation, 23 –25
Schreck, Max, 240 , 243 –44, 254 fig., 263
Scorsese, Martin, 2 , 5 , 6 , 35 ;
commercial film attempts of, 40 ;
filmmaking techniques of, 37 , 51 n3, 332 ;
Hitchcockian reformulations of, 38 –39, 333 ;
modernist intertextuality of, 39 , 40 ;
violent imagery of, 43 .
See also Cape Fear (1991)
Scott, Sir Walter, 78 n2
Screen Directors Guild, 296 , 307 –8
Screen Directors Playhouse (formerly NBC Theatre ), 307 ;
radio adaptations on, 295 –97, 300
Scrooge (1935), 136
SCTV (Second City TV), 112 n5
The Searchers (1956), 35
Selznick, David O., 58 , 92 nn5,6
Semiotic field (concept), 25
Sequel films, 91 –92n1, 137 . See also Film remakes
Series films, 91 –92n1. See also Film remakes
Seven Beauties (1976), 133
Seven Samurai (1954), 4 , 137 , 170
Sexuality:
African Americans and, 107 –8, 111 , 112 nn3, 8 ;
as Dracula subtext, 245 , 249 n4;
exploitation of, in Basic Instinct , 37 –38;
as female-centered, 186 ;
genital-to-oral regression of, 269 –70, 274 n10;
plague/disease theme and, 263 , 264 , 273 n7;
and sexual repression motif, 266 –68;
violence and, 41 , 42 –43, 48 , 251 –52
Shadow of a Doubt (1943), 43
Shakespeare, William, 2 , 133 , 163
Sheehan, Henry, 234 n29
Shengold, Leonard, 271
Shepherd, Richard, 18
The Shining (1980), 273 n4
Showalter, Elaine, 214
Show Boat (1951), 80
Show musical, 92 n4;
reconciliatory conclusion of, 98 –100.
See also Musical remakes
Shuster, Joe, 288 –89
Siebert, Martina, 226
Siegel, Don, 30 , 232 n10. See also Invasion of the Body Snatchers (1956)
Siegel, Jerry, 288 –89
Silk Stockings (1957), 80 , 92 n2
Silverman, Kaja, 208
Simmons, Jean, 226 , 234 nn27, 28
The Simpsons (TV series), 112 n5
Sinclair, Upton, 71
Singin' in the Rain (1952), 92 n3
Sirk, Douglas, 8 , 41 , 48 , 200
Sleeping with the Enemy (1991), 49
Sloane, Paul H., 30
Sluizer, George, 67 n1
Smith, Barbara Herrnstein, 96 , 97 , 104 , 328
Smith, Patti, 229
Some Like It Hot (1959), 192 , 202
"Someone at Last" (song), 88
Soul Man (1986), 112 n7
Spectatorship:
and dreaming, 257 –58;
in Invisible Adversaries , 223 , 233 n23;
in The Man Who Knew Too Much , 54 –57;
and perception/representation, 258 ;
presence/absence paradigm and, 245 , 258 ;
in The Thirty-Nine Steps , 58 .
See also Audience reception
blind spots of, 118 –19;
filmmaking devices of, 36 –37, 137 ;
Guy Named Joe fascination of, 115 –16, 120 , 122 ;
parental relationships with, 120 –21, 122 –23;
paternal images of, 123 –24, 128 n13;
psychological themes of, 128 n14;
remaking influence of, 125 , 129 n18.
See also Always
The Spirit of the Beehive (1973), 245
Stagecoach (1939), 301 –3, 304 fig., 305 –7, 308 nn2,3
Stagecoach (radio adaptation):
aesthetic final scene of, 306 ;
film stars of, 295 –96;
mother/whore dichotomy of, 302 ;
paradoxical production of, 296 –97, 308 ;
racial ideology of, 300 –301;
scenesetting dialogue of, 303 –4
Stage Fright (1950), 40 , 44 , 45
Stahl, John, 201
Star, Darren, 1
Stardom:
Al Jolson's approach to, 106 –7;
music as exploration of, 83 , 84 –85, 86 , 88 , 90 ;
in poststudio era, 83
A Star Is Born (1937), 7 , 29 , 81 , 82 fig.;
latent stardom of, 86 , 93 n10;
melodramatic elements of, 84 , 89 –90;
re-releases of, 93 n13;
screenplay credits for, 92 n6;
What Price Hollywood? and, 92 n5
A Star Is Born (1954), 7 , 29 , 85 fig.;
as CinemaScope film, 81 , 92 –93n8;
melodramatic elements of, 88 , 89 –90;
music/stardom commitment of, 84 –85, 93 n9;
poststudio era of, 82 –83;
restored version of, 92 n7;
What Price Hollywood? and, 92 n5
A Star Is Born (1976), 7 , 29 , 81 , 87 fig.;
audiences of, and within, 88 , 91 , 93 n11;
concert world of, 83 ;
love duets of, 89 ;
music/stardom commitment of, 84 –85, 86 , 88 , 90 ;
remake category of, 126 n1;
screenplay credits for, 92 n6
Star Wars (1977), 193
State Fair (1962), 80
Steffen-Fluhr, Nancy, 233 n15
Stella Dallas (1937), 332
Steptoe, Patrick, 27
Stevenson, Adlai, 22
Stewart, James, 38 , 59 , 61 , 67
Stiers, David Ogden, 321 , 323
Stoker, Bram, 241 , 249 n2. See also Dracula (Stoker)
Stone, Oliver, 26
Straayer, Chris, 205
Strangers on a Train (1951), 30 ;
Cape Fear 1991 and, 40 , 44 , 47 –48;
doubling structure of, 46 –47, 51 n4;
loss of control in, 45
Straw Dogs (1971), 169
Streisand, Barbra, 83 , 84 , 85 , 86 , 87 fig., 88 , 91 , 93 n11
Sturken, Marita, 219
Subtitles, 148 –49, 150 , 155 , 160 nn1,4
Suburban myth, 167 –69
"Suicide Is Painless" (song), 313
Summers, Montague, 273 –74n9
Superman (1978), 279
Superman myth, 284 , 287 –90, 292 n13
Sweet Bird of Youth (1962, 1989), 29
Sweet Dreams (1985), 98
Swit, Loretta, 321
Sykora, Katharina, 234 n31
T
Tales of Hoffman (1951), 39
Tarkovsky, Andrei, 188
Taxi Driver (1976), 38 –39
Television:
cinema's ties to, 179 –80, 311 ;
cultural presence of, 204 ;
film studios' competition with, 81 , 92 –93n8;
genre expectations of, 316 –17
The Ten Commandments (1923, 1956), 28
That Uncertain Feeling (1941), 28
Theater, 163 , 298 –99, 327 –28
Thelma and Louise (1991), 10
"The Man That Got Away" (song), 84
These Three (1936), 30
The Thing (1951, 1982), 30 , 169
The Third Man (1949), 142 –43n3
The Thirty-Nine Steps (1935), 53 , 58
Thomas, Danny, 95 , 102 fig., 104 , 111 , 112 n7
Thompson, David, 214 nn1,7
Thompson, J. Lee, 40
Three Men and a Baby (1987), 5
Three Men and a Cradle (1985), 5
Throw Mamma from the Train (1987), 30
Tilton, Martha, 109
Time of the Gypsies (1989), 4 , 8 , 176 fig.;
as cross-cultural cinema, 172 –73, 182 , 187 –88;
Godfather trilogy and, 188 n1;
impermanence theme of, 183 –84, 187 ;
magic realism of, 177 –78;
matriarchal culture of, 184 –86;
religious ritual of, 186 –87;
world cinematic allusions in, 178 –82
To Catch a Thief (1955), 47
Todorovic, Bora, 184 , 188 –89n4
Tomasini, George, 40
Topor, Roland, 245
Topps Comics, 281
Torch Song (1953), 112 n7
Tornatore, Giuseppe, 179
Tourneur, Jacques, 29
Townsend, Robert, 191
Tracy, Spencer, 116 , 116 fig., 120
Translation:
of comics to film, 283 –84, 285 –86, 290 –91;
inversion effects of, 155 –57, 158 , 160 n4;
mythical sources of, 287 –90;
subtitles' provision of, 149 –50, 160 n1.
See also Adaptations; Iterability structure
Translation theory, 285 –86, 330
Transsexualism, 9 , 205 –6, 217 –18, 233 n19
Transvestism, 9 , 202 , 205 , 206 , 211 –12, 217 –18
Trapper John, M.D. (TV series), 322
Trevor, Claire, 296
Troyano, Ela, 227
Trpkova, Simolicka, 185
Truffaut, François, 50 –51n2, 55 , 178 –79
Truly, Madly, Deeply (1991), 134
Trumbo, Dalton, 116
Truth or Bare (1992), 30
Truth or Dare (1991), 30 , 112 n3
Turner, Lana, 201 , 203 fig., 214 n4
2001: A Space Odyssey (1968), 136
U
Ullmann, Liv, 10
Universal Studios, 19
The Untouchables (1987), 135 , 138
V
Vadim, Roger, 29
Vagina dentata , 270 , 274 n11
Valens, Ritchie, 110
Valenti, Jack, 197
Vampire narratives, 9
Vampires:
Church's exploitation of, 265 , 273 –74n9;
cinematic representation and, 248 , 258 ;
imaginary quality of, 238 , 239 , 240 , 249 n1;
sexual interpretation of, 263 .
See also Dracula films; Dracula myth
Vande Wiele, Raymond L., 27 –28
The Vanishing (1989, 1992–93), 67 n1
Van Peebles, Mario, 135 –36
Varnhagen, Rahel, 233 n22
Vertigo (1958), 29 , 37 –38, 42 , 43 , 67 , 136
"Viaggio a Tulum" (comic), 292 n6
Vietnam War, 323 –24
Der Vilner Balebesl , 100 , 112 n4
Violence:
African-American stereotype of, 105 ;
cartoon allusion's containment of, 139 –41;
as Wes Craven trademark, 164 –65, 169 , 170 n5;
Hitchcock's representations of, 34 –35, 37 , 38 ;
and sexuality, 41 , 42 –43, 48 , 251 –52
The Virginia Spring (1959), 162 , 164 –66, 166 fig., 167
Vlad the Impaler, 264 , 273 n8
Von Sternberg, Josef, 133
Von Sydow, Max, 164
W
Waddill, William, 27
Walsh, Raoul, 29
Warner, Jack, 71
Warner Brothers, 70 , 71 , 74 , 81 , 92 –93n8, 95 , 112 n7
"Watch Closely Now" (song), 90
Wayne, John, 296
Weekend (1968), 204
Weibel, Peter, 220
Welch, Joseph, 21
Welles, Orson, 133 , 178 , 280
Wertmuller, Lina, 133
What Price Hollywood? (1932), 81 , 92 n5
When Father Was Away on Business (1985), 183
When I was Dead and White (1967), 181
White, Dan, 26
White, Paul Dudley, 22
White Hunter, Black Heart (1990), 134
Widl, Susanne, 220
Willes, Jean, 22
Wilson, Teddy, 108
Winner, Michael, 29
Wollen, Peter, 132 –33
Women:
as alienated doubles, 221 , 223 , 233 n20;
centrality of, in film, 184 –86;
fetishistic substitution and, 210 –12;
Hitchcock's portrayal of, 38 , 46 , 59 , 60 –61, 63 , 68 n7;
melodramatic portrayal of, 88 , 89 –90, 202 –3.
See also Gender; Motherhood
Wood, G., 313
Wood, Rob, 78 n1
Wood, Sam, 29
Writing:
and imagery, 154 –55;
as trace of production, 148 –49
The Wrong Man (1956), 42
Wyman, Jane, 44
Y
Yellow Kid comic strip, 280 , 291 n4
Young, Edward, 329
Young Frankenstein (1954), 30
Yugoslav cinema, 181 –82
Z
Zeffirelli, Franco, 18
Zinnemann, Fred, 30