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001			291930
003			IT-RoAPU
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007			cr || ||||||||
008			221201t20062007ne fo d z eng d
020			_a9789053567845 _qprint
020			_a9789048509706 _qPDF
024	7		_a10.1515/9789048509706 _2doi
035			_a(DE-B1597)9789048509706
035			_a(DE-B1597)532930
035			_a(OCoLC)1110719876
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aPER000000 _2bisacsh
082	0	4	_a791.436
084			_aonline - DeGruyter
100	1		_aZanger, Anat _eautore
245	1	0	_aFilm Remakes as Ritual and Disguise : _bFrom Carmen to Ripley / _cAnat Zanger.
264		1	_aAmsterdam : _bAmsterdam University Press, _c[2006]
264		4	_c©2007
300			_a1 online resource (160 p.) : _bIllustrated
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aFilm Culture in Transition
505	0	0	_tFrontmatter -- _tTable of Contents -- _tAcknowledgments -- _tIntroduction -- _tChapter 1. Psycho: Inside and Outside the Frame -- _tPart One. First Variation: Carmen -- _tChapter 2. The Game Begins -- _tChapter 3. Muted Voices -- _tChapter 4. Masks -- _tPart Two. Second Variation: Joan -- _tChapter 5. The Game Again -- _tChapter 6. Hearing Voices -- _tChapter 7. Disguises -- _tConclusion -- _tChapter 8. Repetitions as Hidden Streams -- _tReferences -- _tFilmography -- _tCredits -- _tIndex
506	0		_aOpen Access _uhttps://purl.org/coar/access_right/c_abf2 _funrestricted online access _2star
520			_aThe 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-Joanof 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.
538			_aMode of access: Internet via World Wide Web.
540			_aThis eBook is made available Open Access under a CC BY-NC-ND 4.0 license: _uhttps://creativecommons.org/licenses/by-nc-nd/4.0https://www.aup.nl/en/publish/open-access
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2022)
650		0	_aFilm remakes _xHistory and criticism.
650		7	_aPERFORMING ARTS / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9789048509706?locatt=mode:legacy _zOpen Access _70
856	4	0	_uhttps://www.degruyter.com/isbn/9789048509706 _zOpen Access _70
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9789048509706/original
942			_cEB
999			_c291930 _d291930