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

• Superior document: Title is part of eBook package: De Gruyter AUP eBook Package Backfile 2000-2013
• VerfasserIn: Zanger, Anat,
• Place / Publishing House: Amsterdam : : Amsterdam University Press, , [2006]; ©2007
• Year of Publication: 2006
• Language: English
• Series: Film Culture in Transition
• Physical Description: 1 online resource (160 p.) :; Illustrated
• Other title: Frontmatter --; Table of Contents --; Acknowledgments --; Introduction --; Chapter 1. Psycho: Inside and Outside the Frame --; Part One. First Variation: Carmen --; Chapter 2. The Game Begins --; Chapter 3. Muted Voices --; Chapter 4. Masks --; Part Two. Second Variation: Joan --; Chapter 5. The Game Again --; Chapter 6. Hearing Voices --; Chapter 7. Disguises --; Conclusion --; Chapter 8. Repetitions as Hidden Streams --; References --; Filmography --; Credits --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9789048509706; 9783110700671; 9783111023786; 9783110662788
• DOI: 10.1515/9789048509706?locatt=mode:legacy
• Access: Open Access
• Hierarchical level: Monograph
• Statement of Responsibility: Anat Zanger.

The first full-length history of the remake in cinema, Film Remakes as Ritual and Disguise is also the first book to explore how and why these stories are told. Anat Zanger focuses on contemporary retellings of three particular tales-Joanof Arc, Carmen, and Psycho-to reveal what she calls the remake's "rituals of disguise." Joan of Arc, Zanger demonstrates, later appears as the tough, androgynous Ripley in the blockbuster Alien series and the God-ridden Bess in Lars Von Trier's Breaking the Waves. Ultimately, these remake chains offer evidence of the archetypes of our own age, cultural "fingerprints" that are reflective of society's own preferences and politics. Underneath the redundancy of the remake, Zanger shows, lies our collective social memory. Indeed, at its core the lowly remake represents a primal attempt to gain immortality, to triumph over death-playing at movie theaters seven days a week, 365 days a year. Addressing the wider theoretical implications of her argument with sections on contemporary film issues such as trauma, jouissance, and censorship, Film Remakes as Ritual and Disguise is an insightful addition to current debates in film theory and cinema history.