This is the first book to provide a comprehensive and systematic account of the phenomenon of cinematic remaking. Drawing upon recent theories of genre and intertextuality, Film Remakes describes remaking as both an elastic concept and a complex situation, one enabled and limited by the interrelated roles and practices of industry, critics, and audiences. This approach to remaking is developed across three broad sections: the first deals with issues of production, including commerce and authors; the second considers genre, plots, and structures; and the third investigates issues of reception,...

An introduction to some of the issues and concerns arising from the concept of film remaking.

Sequels, serials, and remakes have been a staple of cinema since the very beginning, and recent years have seen the emergence of dynamic and progressive variations of these multi-film franchises. Taking a broad range of sequels as case studies, from the Godfather movies to the Pirates of the Caribbean franchise, Second Takes confronts the complications posed by film sequels and their aftermaths, proposing new critical approaches to what has become a dominant industrial mode of Hollywood cinema. The contributors explore the sequel's investments in repetition, difference, continuation, and...

This collection of essays, written by international film and television scholars, provides detailed critical analysis of the issues surrounding judgements of cultural value and taste, feeling and affect, cultural morals and politics, research methodologies and teaching strategies in the new landscape of 'after taste' media.

Drawing on a wide range of examples, this book - the first devoted to the phenomenon of the film trilogy- provides a dynamic investigation of the ways in which the trilogy form engages key issues in contemporary discussions of film remaking, adaptation, sequelization and serialization.

A dynamic investigation of processes of cultural reproduction - remaking and remodelling - which considers a wide range of film adaptations, remakes and fan productions from various industrial, textual and critical perspectives.

In the wake of the debates over high/low culture distinction spilling into the effective dismantling of the boundary that once separated them, the past decade has seen the explosion of 'bad taste' production on screen. Starting with paracinema or 'badfilm' - a movement that has grown up around sleazy, excessive, or poorly executed B-movies and has come to encompass disreputable and unworthy films - this trend has been evident in various formats: on television and in video-art, low-budget and straight to TV films, amateur and home movies. The proliferation of trash on screen can be seen as...

B Is for Bad Cinema continues and extends, but does not limit itself to, the trends in film scholarship that have made cult and exploitation films and other "low" genres increasingly acceptable objects for critical analysis. Springing from discussions of taste and value in film, these original essays mark out the broad contours of "bad"--that is, aesthetically, morally, or commercially disreputable--cinema. While some of the essays share a kinship with recent discussions of B movies and cult films, they do not describe a single aesthetic category or represent a single methodology or...

In 20 close studies of single films, leading figures in cinema studies consider how received notions of indie style, politics, and practitioners can be questioned, and in this way account for a larger body of work than the dominant canon reflects.