Play It Again, Sam


 expand sectionINTRODUCTION

 collapse sectionPART ONE—  NEXT OF KIN:  REMAKES AND HOLLYWOOD
 expand sectionOne—  Remakes and Cultural Studies
 expand sectionTwo—  Algebraic Figures:  Recalculating the Hitchcock Formula
 expand sectionThree—  The Director Who Knew Too Much:  Hitchcock Remakes Himself
 expand sectionFour—  Robin Hood:  From Roosevelt to Reagan
 expand sectionFive—  "Once More, from the Top":  Musicals the Second Time Around
 expand sectionSix—  The Ethnic Oedipus: The Jazz Singer and Its Remakes
 expand sectionSeven—  Raiders of the Lost Text:  Remaking as Contested Homage in Always
 expand sectionEight—  Double Takes:  The Role of Allusion in Cinema

 collapse sectionPART TWO—  DISTANT RELATIVES:  CROSS-CULTURAL REMAKES
 collapse sectionNine—  The French Remark: Breathless and Cinematic Citationality
 Works Cited
 Ten—  The Spring, Defiled:  Ingmar Bergman's Virgin Spring and Wes Craven's Last House on the Left
 expand sectionEleven—  Cinematic Makeovers and Cultural Border Crossings:  Kusturica's Time of the Gypsies and Coppola's Godfather and Godfather II
 expand sectionTwelve—  Made in Hong Kong:  Translation and Transmutation
 expand sectionThirteen—  Modernity and Postmaternity: High Heels and Imitation of Life
 expand sectionFourteen—  Feminist Makeovers:  The Celluloid Surgery of Valie Export and Su Friedrich
 expand sectionFifteen— Nosferatu , or the Phantom of the Cinema
 expand sectionSixteen—  How Many Draculas Does It Take to Change a Lightbulb?

 collapse sectionPART THREE—  ALTERED STATES:  TRANSFORMING MEDIA
 expand sectionSeventeen—  The Superhero with a Thousand Faces:  Visual Narratives on Film and Paper
 expand sectionEighteen—  "Tonight Your Director Is John Ford":  The Strange Journey of Stagecoach from Screen to Radio
 expand sectionNineteen—  M*A*S*H Notes
 Afterword:  Rethinking Remakes

 expand sectionNotes
  NOTES ON CONTRIBUTORS
  CREDITS
 expand sectionINDEX

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