Film Remakes as Ritual and Disguise: From Carmen to Ripley by Anat Zanger

By Anat Zanger

The 1st full-length historical past of the remake in cinema, Film Remakes as Ritual and Disguise can be the 1st ebook to discover how and why those tales are told. 

Anat Zanger specializes in modern retellings of 3 specific tales—Joan of Arc, Carmen, and Psycho—to demonstrate what she calls the remake’s “rituals of disguise.” Joan of Arc, Zanger demonstrates, later looks because the tricky, androgynous Ripley within the blockbuster Alien sequence and the God-ridden Bess in Lars Von Trier’s Breaking the Waves. eventually, those remake chains provide proof of the archetypes of our personal age, cultural “fingerprints” which are reflective of society’s personal personal tastes and politics. beneath the redundancy of the remake, Zanger indicates, lies our collective social memory.  certainly, at its center the lowly remake represents a primal try and achieve immortality, to overcome death—playing at motion picture theaters seven days per week, one year a year. 

Addressing the broader theoretical implications of her argument with sections on modern movie matters similar to trauma, jouissance, and censorship, Film Remakes as Ritual and cover is an insightful addition to present debates in movie conception and cinema history.

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Extra info for Film Remakes as Ritual and Disguise: From Carmen to Ripley (Amsterdam University Press - Film Culture in Transition)

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The versions discussed here are selected links in a continuous process of re-reading by filmmakers and spectators, all of whom take part in a reception space in which Carmen is simultaneously appropriated and silenced. Silent Carmen Early cinema presentations were based on two elements: a mechanical moving image and a live instrumental, often orchestral, accompaniment, though not actual recordings of the opera. As for the absence of the voice itself, Mary Ann Doane observes ( []): The absent voice reemerges in gestures and the contortions of the face – it is spread over the body of the actor.

Hypertextuality, as the a posteriori construction of a given interrelated corpus, allows the observation of features which are normally hidden or undetected in any given single version. Within the dynamic of repetition and variation in the Carmen corpus, we can identify Carmen’s first aria, the Habañera, as a constant element in the inventory examined, repeating itself again and again in the hypertexts. However, I will argue, Carmen’s voice has been consistently muted by the cinematic institution.

Notes . . . . For a discussion of the musical adaptation in Carmen Jones see Jeremy Tambling (). Whose relations with her are reminiscent of Humbert Humbert’s relations with Lolita (Vladimir Nabokov, ). Among the non-filmic adaptations of Carmen it is worth mentioning Pablo Picasso’s  engravings, published with the  edition of Carmen (Paris, ), Roland Petite’s ballet (French TV production, ), the computer game series Carmen San Diego (, USA), a short video by Laurie Anderson (, USA) and Car-Man, a ballet by Mathew Bourne (, UK).

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