By Jennifer Forrest, Leonard R. Koos
Whereas the preferred press has criticized motion picture remakes as indicators of Hollywood s collective loss of mind's eye, the essays in useless Ringers demonstrate the centrality and endurance of remakes as a formative style in filmmaking. The members express that the perform of remaking motion pictures dates again to the origins of cinema and the evolution of movie markets. in reality, remakes have been by no means so well-known as through the vintage Hollywood interval, whilst filmmaking had accomplished its maximum measure of industrialization, and so they proceed to play a vital position within the improvement of movie genres normally. providing quite a few historic, advertisement, theoretical, and cultural views at the remake, useless Ringers is a useful source for college kids of movie historical past and concept, in addition to these attracted to the cultural politics of the overdue 20th century."
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Extra resources for Dead Ringers: The Remake in Theory and Practice
Balio 313–50. Vassé, Claire. ” Positif 460 (June 1999): 85–9. Vincendeau, Ginette. 7 (July 1993): 23–25. Walker, Alexander. The Shattered Silents: How the Talkies Came to Stay. New York: William Morrow, 1979. Waxman, Sharon. S. ” Washington Post 15 July 1993: C1+. Weinraub, Bernard. ” New York Times 17 February 1997: A1+. 36 JENNIFER FORREST AND LEONARD R. KOOS Williams, Michael, and Christian Mork. ” Daily Variety 19 April 1993: 5+. Woodsworth, Judith et al. ” Delisle and Woodsworth 67–98. Young, Josh.
The truth, however, is that every national cinema in the West, and probably in the East as well, remakes both its own films and those of other countries; every national cinema is both a business and a producer of art. The remake is integral to an understanding of the relation between the two positions. 30 JENNIFER FORREST AND LEONARD R. KOOS The timeliness of a serious study of the remake cannot be denied, since, as has been shown, it has been the subject of many articles in the press for the last nine years.
We are using the term introduced by Robert B. Ray in A Certain Tendency of the Hollywood Cinema, 1930–1980. 15. The terminological association of art and cinema in France would seem to originate with André Calmettes’s 1908 film L’Assassinat du Duc de Guise featuring the famous Comédie Française actor Charles Le Bargy. Although christened a “film d’art,” this term before the 1920s often meant little more than the participation of renowned actors from the legitimate stage in the film production. In 1911, the Italian poet, Ricciotto Canudo, published in France his “Manifeste des sept arts,” identifying cinema as the seventh art, an appellation that would become synonymous with the medium during the 1920s.
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