Play It Again, Sam |
INTRODUCTION |
• | I. |
• | II. |
• | III. |
• | IV. |
• | V. |
• | Works Cited |
PART ONE— NEXT OF KIN: REMAKES AND HOLLYWOOD |
One— Remakes and Cultural Studies |
Two— Algebraic Figures: Recalculating the Hitchcock Formula |
Three— The Director Who Knew Too Much: Hitchcock Remakes Himself |
Four— Robin Hood: From Roosevelt to Reagan |
Five— "Once More, from the Top": Musicals the Second Time Around |
Six— The Ethnic Oedipus: The Jazz Singer and Its Remakes |
Seven— Raiders of the Lost Text: Remaking as Contested Homage in Always |
Eight— Double Takes: The Role of Allusion in Cinema |
PART TWO— DISTANT RELATIVES: CROSS-CULTURAL REMAKES |
Nine— The French Remark: Breathless and Cinematic Citationality |
• | Ten— The Spring, Defiled: Ingmar Bergman's Virgin Spring and Wes Craven's Last House on the Left |
Eleven— Cinematic Makeovers and Cultural Border Crossings: Kusturica's Time of the Gypsies and Coppola's Godfather and Godfather II |
Twelve— Made in Hong Kong: Translation and Transmutation |
Thirteen— Modernity and Postmaternity: High Heels and Imitation of Life |
Fourteen— Feminist Makeovers: The Celluloid Surgery of Valie Export and Su Friedrich |
Fifteen— Nosferatu , or the Phantom of the Cinema |
Sixteen— How Many Draculas Does It Take to Change a Lightbulb? |
PART THREE— ALTERED STATES: TRANSFORMING MEDIA |
Seventeen— The Superhero with a Thousand Faces: Visual Narratives on Film and Paper |
Eighteen— "Tonight Your Director Is John Ford": The Strange Journey of Stagecoach from Screen to Radio |
Nineteen— M*A*S*H Notes |
• | Afterword: Rethinking Remakes |
Notes |
NOTES ON CONTRIBUTORS |
CREDITS |
INDEX |