| 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 |
| • | Kinds of Remakes: A Preliminary Taxonomy |
| • | Works Cited |
| Two— Algebraic Figures: Recalculating the Hitchcock Formula |
| • | Works Cited |
| Three— The Director Who Knew Too Much: Hitchcock Remakes Himself |
| • | Works Cited |
| Four— Robin Hood: From Roosevelt to Reagan |
| • | Works Cited |
| Five— "Once More, from the Top": Musicals the Second Time Around |
| • | Works Cited |
| Six— The Ethnic Oedipus: The Jazz Singer and Its Remakes |
| • | Works Cited |
| Seven— Raiders of the Lost Text: Remaking as Contested Homage in Always |
| • | Works Cited |
| Eight— Double Takes: The Role of Allusion in Cinema |
| • | Works Cited |
| PART TWO— DISTANT RELATIVES: CROSS-CULTURAL REMAKES |
| Nine— 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 |
| Eleven— Cinematic Makeovers and Cultural Border Crossings: Kusturica's Time of the Gypsies and Coppola's Godfather and Godfather II |
| • | Making over Narrative: Family Business |
| Making over Coppola's Godfathers |
| • | Style: Gothic Realism vs Magic Realism |
| • | Cinematic Tone: The Tragic vs the Joyfully Comic |
| • | Kusturica's Salute to World Cinema in an Age of Television |
| • | The Yugoslav Film Connection |
| • | Making over One's Own Career: Cross My Gypsy Heart |
| Making over Culture: Four Levels |
| • | Making Over Theme: The Stolid vs the Impermanent |
| • | Making over Patriarchs into Matriarchs |
| • | Fatherly Blessings Given and Absent |
| • | Catholicism vs the Orthodox Faith |
| • | Stolen Coins: Crossing All Borders |
| • | Works Cited |
| Twelve— Made in Hong Kong: Translation and Transmutation |
| • | Works Cited |
| Thirteen— Modernity and Postmaternity: High Heels and Imitation of Life |
| • | Remaking a Remake |
| • | A Postmodern Simulacrum |
| • | "Sign Crimes against the Big Signifier of Sex" |
| • | Polymorphous Perverse |
| • | Postmaternity |
| • | Works Cited |
| Fourteen— Feminist Makeovers: The Celluloid Surgery of Valie Export and Su Friedrich |
| • | Of Clones and Men: Invasion of The Body Snatchers and Invisible Adversaries |
| • | Much Ado about Nun-Things: Black Narcissus and Damned If You Don't |
| • | In Stitches: Cutting up As Serious Business |
| • | Works Cited |
| Fifteen— Nosferatu , or the Phantom of the Cinema |
| • | Works Cited |
| Sixteen— How Many Draculas Does It Take to Change a Lightbulb? |
| • | The Dead and Undead |
| • | Political Oppressor and Victimizer |
| • | The Anti-Christ and Anti-God |
| • | The Unconsciously Desired |
| • | The Oedipal Father |
| • | The Preoedipal Mother |
| • | The Beast That Once We were |
| • | Works Cited |
| 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 |
| • | Works Cited |
| Nineteen— 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 |
| Notes |
| • | INTRODUCTION |
| • | 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 |
| • | 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 |
| • | 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? |
| • | 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 |
| • | Afterword: Rethinking Remakes |
| 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 |
