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 |
• | Cinema and the Comics: Two Visual Languages |
• | Adaptations High and Low |
• | Works Cited |
![]() | 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 |