Sharp originality is dissolved into warming nostalgia, and excoriating film classics are defanged and gentrified.
– Professor Leonard Koos, University of Mary Washington, co-editor (with Jennifer Forrest) of Dead Ringers: The Remake in Theory and Practice That once critically dismissed minority phenomena of remaking movies, Rosewarne convincingly argues, has expanded to engulf, and so characterise, mainstream film production. A valuable resource for anyone interested in contemporary cinema and the forces that shape it. – Professor Elyce Rae Helford, Middle Tennessee State University, editor of The Woman Fantastic in Contemporary American Media Culture and author of What Price Hollywood?: Gender and Sex in the Films of George Cukor Richly detailed and persuasively argued, Why We Remake provides an engaging and comprehensive analysis of the varying motivations that prompt film remakes. Why We Remake offers six persuasive and well-illustrated answers to why films are remade, from corporate greed and building better blockbusters to cultural fads and the invocation of nostalgia. – Professor Tricia Welsch, Bowdoin College, author of Gloria Swanson: Ready for Her Close-Up In an era of incessant remakes, Lauren Rosewarne offers a wide-ranging, multidisciplinary guide to a film phenomenon more visible than ever today. She offers a kaleidoscopic and incisive approach to a topic of (literally) perennial interest. Barton Palmer, Clemson University, editor (with Amanda Ann Klein) of Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television Lauren Rosewarne’s thoroughly researched book explores the remake’s reputation for commercializing, cannibalizing, and corrupting the films it revisits, as well as the recurring pleasures the remake provides its many audiences. Her book offers an accessible discussion of important issues, along with well-handled analyses of individual films. Providing a typology of the various motives that move those in the industry to expend their energies in a form of repetition, Rosewarne’s Why We Remake helps explain the appeal to filmmakers and filmgoers alike of new versions of something old, usefully identifying their
– Professor Anne Duggan, Wayne State University, author of Queer Enchantments: Gender, Sexuality, and Class in the Fairy-Tale Cinema of Jacques Demy Lauren Rosewarne’s latest study of cinema remakes offers a fresh, compelling perspective on remaking, among film study’s most relevant areas of research. In the end, Why We Remake asks us to question our own presuppositions about what a remake is and does. Throughout her study Rosewarne emphasizes the extent to which remakes are indeed adaptations that allow creators to incorporate the most recent cinematographic technologies and address contemporary social, cultural, and political concerns through the lens of familiar storylines. Drawing from a wealth of film reviews and studies, she adeptly problematizes the prejudices towards remakes and foregrounds the financial and artistic stakes in producing them.
– Professor Ian Hunter, De Montfort University, author of Cult Film as a Guide to Life: Fandom, Adaptation, and Identity Lauren Rosewarne’s illuminating book challenges conventional wisdom about remakes in general and American remakes in particular. Why We Remake is a must read for all students of adaptation. With examples from silent cinema to Bollywood and comic book franchises, Lauren Rosewarne expertly analyses different kinds of remake (upgrades, nostalgic homages, fashionable reboots) and shows that, in spite of critical disdain, remakes have been central to film history.
TRAUMA CENTER SECOND OPINION TV TROPES MOVIE
With cinema seemingly ever more obsessed with recycling itself, this is a timely as well as exuberant, learned and massively detailed exploration of that least prestigious form of adaptation – the movie remake.
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