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

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—Joan of 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. ** [C:\Users\Microsoft\Documents\Calibre Library] Table of Contents -1 Acknowledgments -1 Introduction -1 Structure and Content .. -1 Chapter 1 Psycho: Inside and Outside the Frame -1 The Cinematic Institution -1 The Dynamic of Repetitions .. -1 Psycho, Fetishism and Pleasure -1 Part One First Variation: Carmen -1 Chapter 2 The Game Begins -1 I Versions .. -1 II Intertextual Sources .. -1 III Variability .. -1 IV Carmen’s Chain .. -1 Chapter 3 Muted Voices -1 I Olympia .. -1 II Re-Significations .. -1 III Carmen’s Transgression .. -1 IV Filming the Habañera .. -1 V The Transformations of Carmen .. -1 Chapter 4 Masks -1 I Borrowing Objective Discourse .. -1 II The Traveller’s Gaze: Indirect Characterization .. -1 III Placing and Re-Placing Ethnicity .. -1 IV Space and the Smuggling Gesture .. -1 V Conclusion or “Will the Marvelous, Beautiful Story of Carmen Live Forever?” (Chaplin) .. -1 Part Two Second Variation: Joan -1 Chapter 5 The Game Again -1 I Histories .. -1 II Unattainable Mythemes .. -1 III Regime of Discourses .. -1 Chapter 6 Hearing Voices -1 I Image, Biography and History or Let Us Now Praise Famous Men .. -1 II The Ambiguity of Historical Images .. -1 III The Voices as an Anxious Sign ... -1 IV An Intertextual Dialogue .. -1 Chapter 7 Disguises -1 I Discourses and Detours ... -1 II Version and Meta-Version ... -1 III Disguised Versions ... -1 IV Repetition, Cultural Memory and Trauma ... -1 Conclusion -1 Chapter 8 Repetitions as Hidden Streams -1 I Looking Back ... -1 II Repetitions and Variations ... -1 III Fetishism and Exorcism ... -1 References -1 Filmography -1 Credits -1 Index -1 Acknowledgements 8 Introduction 10 Ch 1: Psycho: Inside and Outside the Frame 14 Part One 28 Ch 2: The Game Begins 30 Ch 3: Muted Voices 44 Ch 4: Masks 56 Part Two Second Variation: Joan 68 Ch 5: The Gmae Again 70 Ch 6: Hearing Voices 86 Ch 7: Disguises 102 Conclusion 118 Ch 8: Repetitions as Hidden Streams 120 References 132 Filmography 148 Credits 152 Index 154 The first book-length account of the symbolic chains that link remakes and explain their disguises, Film Remakes as Rituals 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-Joan of 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 III film 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 theatres 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, Zanger offers an insightful addition to current debates in film theory and cinema history 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 Joan of Arc , Carmen , and Psycho to reveal what she calls the remakes 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 Triers Breaking the Waves . Ultimately, these remake chains offer evidence of the archetypes of our own age, cultural fingerprints that are reflective of societys 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 deathplaying 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. Abstract: The first book-length account of the symbolic chains that link remakes and explain their disguises, Film Remakes as Rituals and Disguise is also the first book to explore how and why these stories are told. The author focuses on contemporary retellings of three particular tales - Joan of Arc, Carmen, and Psycho - to reveal what she calls the remake's "rituals of disguise." Joan of Arc, the author demonstrates, later appears as the tough, androgynous Ripley in the blockbuster Alien III film 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, the author 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 theatres seven days a week, 365 days a year. Addre Psycho : Inside And Outside The Frame -- First Variation : Carmen -- The Game Begins -- Muted Voices -- Masks -- Second Variation : Joan -- The Game Again -- Hearing Voices -- Discguises -- Repetitions As Hidden Streams. Anat Zanger. Includes Bibliographical References (p. [131]-152) And Index. The first book-length account of the symbolic chains that link remakes such as Psycho and Carmen and explain their disguises