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
 expand sectionNine—  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
 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
 collapse sectionNineteen—  M*A*S*H Notes
 Network Policy
 Genre Expectations
 Popularity
 Writers and Creative Personnel
 Subject Material
 Influence of the Actors
 Replacement of Cast Members
 Changes in the Political Climate
 Iconization of the Characters
 Works Cited
 Afterword:  Rethinking Remakes

 expand sectionNotes
  NOTES ON CONTRIBUTORS
  CREDITS
 expand sectionINDEX

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