| Play It Again, Sam |
 | INTRODUCTION |
 | 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 |
| • | A |
| • | B |
| • | C |
| • | D |
| • | E |
| • | F |
| • | G |
| • | H |
| • | I |
| • | J |
| • | K |
| • | L |
| • | M |
| • | N |
| • | O |
| • | P |
| • | Q |
| • | R |
| • | S |
| • | T |
| • | U |
| • | V |
| • | W |
| • | Y |
| • | Z |