Tradition of remaking and serialisation in world film
Although they are often emphasised as characteristic of contemporary (especially Hollywood) production, which according to many predominantly offers pastiche in service of exploitative tendencies of late capitalism, remaking and serialisation, the stylistic tools that directly correspond to the afor...
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| Format: | Article |
| Language: | English |
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Akademija umetnosti Univerziteta u Novom Sadu
2016-01-01
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| Series: | Zbornik Radova Akademije Umetnosti |
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| Online Access: | http://scindeks-clanci.ceon.rs/data/pdf/2334-8666/2016/2334-86661604206K.pdf |
| Summary: | Although they are often emphasised as characteristic of contemporary (especially Hollywood) production, which according to many predominantly offers pastiche in service of exploitative tendencies of late capitalism, remaking and serialisation, the stylistic tools that directly correspond to the aforementioned, have in fact a long and rich tradition in world film. Dating back to the silent era, being present in cinematography worldwide even before the 1970s, when the term postmodernism, which usually suggests a crisis in ideology and strongly manifested commercialism became attached to film, today justifyingly notorious, these tools were close to respectable authors, particularly the ones in the so called classical period of film, but in the period of modernism too - remakes being some of the most significant accomplishments. The paper suggests that the problem of quality of the recent production of remakes and sequels is not merely in the roots of these concepts, but in the author's approach, i.e. in the treatment of adaptation of the original. |
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| ISSN: | 2334-8666 2560-3108 |