Film Remakes Essay Example | Topics and Well Written Essays - 3250 words

Film Remakes - Essay Example Film remaking is both an elastic concept and complex situation especially because the interrelated roles and practices of the industry, critics, and audiences both enable and limit it, thus, to try and understand film remakes, it has been broken down into three major tiers. The first tier deals with remaking as industrial category (Verevis 2006, p.3), which entails issues such as production, including commerce and authors; the second tier is remaking as textual category, and it deals with the genre, plots, and structures. The third and final tier is that of remaking as critical category, which investigates issues of reception, including audiences and institutions; the film remake emerges as a case of repetition, a function of the cinematic discursive fields that is maintained by specific practices in history. For instance, some of the historical practices that actively maintain the concept of film remakes include but are not limited to things such as copyright law and authorship, can on formation and media literacy, in addition to film criticism and reviewing. In that case, the concept of film remaking is a common feature in the history of cinema and it entails a number of technological, textual, and cultural practices; however, film remake has since then been maintained as a separate phenomenon, yet connected. This paper seeks to address some of the crucial pertinent issues surrounding the concept of remaking, while trying to explore a broad theoretical approach that provides both an understanding of the concept of cinematic remaking, and individual film remakes in the contemporary times. Introduction For many years, the cinema has been repeating and replaying its own narratives and genres from the beginnings of time yet film remaking has hardly received any critical attention worth noticing especially because most of the pertinent questions surrounding this concept remain unexplored in film studies. For instance, some of the questions that have seldom been ask ed in film studies concern what film remaking really is, which films that are remakes of other films, how film remaking differs from other types of repetition such a quotation allusion, and adaptation, in addition to, the relationship between remakes and other commercial forms such as sequels, cycles, and series. Apart from these, other pertinent questions that need to be explored in film studies regarding film remakes concern how film remaking differs from the cinema’s more general ability to repeat and replay the same film as many times as possible through re-issue and redistribution. Additionally, film studies might also want to consider the interesting question of how film remaking differs from the way every film is remade- dispersed and transformed- in its varied contexts and reviewing; these and much more are some of the crucial questions that are hardly asked and answered in film studies. There exists several accounts of cinematic remaking, and most of them have provid ed different versions of definitions of film remakes, as new versions of existing films, and as films that to some substantial degree strike as being related to either one or several previous movies. Film remaking is not just about the simplistic cultural knowledge of the existence of, and nature of film remakes because when understood alongside the much broader concept of intertextuality, it can refer to the never-ending and fluid possibilities given forth by the discursive practices of a film culture. Ideally, the remake is distinguished not by the fact of its being a repetition, but by the fact of its being a typical institutional form of the structure of repetition†¦the citationality or iterability, that exists in and for every film† (Verevis 2006, p.1). Just like in the case of the