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
 expand sectionNineteen—  M*A*S*H Notes
 Afterword:  Rethinking Remakes

 collapse sectionNotes
 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
 expand sectionINDEX

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