Blockbuster Remakes

Like the term “blockbuster,” the phrase “blockbuster remake” can mean different things. Typically, blockbuster remake is an industrial term, one that refers to the production of large-scale movies adapted from previously filmed properties. In this definition, modest (cult) properties – such as, Planet of the Apes (1968, 2001), King Kong (1933, 1976, 2005), and War of the Worlds (1954, 2005) – are revived through massive production budgets as cultural juggernauts, with strong marketing campaigns and merchandising tie-ins. Less typical is a description that accounts for the way in which a blockbuster movie is itself remade: that is, a definition in which a blockbuster becomes the cornerstone for the entire architecture of a blockbuster cycle. This article explores the idea of a blockbuster remake, and blockbuster initiated cycle, in and through a case study of the prototype of all modern blockbusters: Steven Spielberg’s Jaws (1975). Specifically, the article interrogates the way in which “Bruce,” the great white shark of Jaws, initiated a rogue animal cycle consisting in the first instance of the Jaws franchise – Jaws 2 (1978), Jaws 3-D (1983) and Jaws 4: The Revenge (1987) – and also a series of replicas that included Grizzly (1976), Orca (1977), and Piranha (1978)

Film remakes, the black sheep of translation

Film remakes have often been neglected by translation studies in favour of other forms of audiovisual translation such as subtitling and dubbing. Yet, as this article will argue, remakes are also a form of cinematic translation. Beginning with a survey of previous, ambivalent approaches to the status of remakes, it proposes that remakes are multimodal, adaptive translations: they translate the many modes of the film being remade and offer a reworking of that source text. The multimodal nature of remakes is explored through a reading of Breathless, Jim McBride's 1983 remake of Jean-Luc Godard's À bout de souffle (1959), which shows how remade films may repeat the narrative of, but differ on multiple levels from, their source films. Due to the collaborative nature of film production, remakes involve multiple agents of translation. As such, remakes offer an expanded understanding of audiovisual translation

Film remakes

"Film membangkitkan suasana hati yang luas dan isyarat emosi tertentu yang dapat secara luas bersama serta individual alami. Meskipun pengalaman emosi merupakan pusat melihat film, kajian film telah lalai untuk memusatkan perhatian pada emosi, mengandalkan hanya pada conceps psikoanalitik jelas keinginan. struktur film dan sistem emosi mensintesis penelitian terbaru pada emosi dalam psikologi kognitif dan neurologi dalam upaya untuk memberikan pemahaman yang lebih bernuansa bagaimana film membangkitkan emosi. Menganalisis berbagai film, termasuk Casablanca dan Orang Asing dari surga, buku ini menawarkan pendekatan beralasan untuk mekanisme melalui film-film menarik bagi emosi manusia, menunjukkan peran gaya dan narasi dalam proses in

(Re)made in the USA

Encore Hollywood: Remaking French Cinema, Lucy Mazdon, British Film Institute, 2000

Australia

11 page(s

Introduction

No abstract available

Australian film theory and criticism

14 page(s