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Contents

• INTRODUCTION
• PART ONE—  NEXT OF KIN:  REMAKES AND HOLLYWOOD
  • One—  Remakes and Cultural Studies
  • Two—  Algebraic Figures:  Recalculating the Hitchcock Formula
  • Three—  The Director Who Knew Too Much:  Hitchcock Remakes Himself
  • Four—  Robin Hood:  From Roosevelt to Reagan
  • Five—  "Once More, from the Top":  Musicals the Second Time Around
  • Six—  The Ethnic Oedipus:  The Jazz Singer and Its Remakes
  • Seven—  Raiders of the Lost Text:  Remaking as Contested Homage in Always
  • Eight—  Double Takes:  The Role of Allusion in Cinema
• PART TWO—  DISTANT RELATIVES:  CROSS-CULTURAL REMAKES
  • Nine—  The French Remark:  Breathless and Cinematic Citationality
  • Ten—  The Spring, Defiled:  Ingmar Bergman's Virgin Spring and Wes Craven's Last House on the Left
  • Eleven—  Cinematic Makeovers and Cultural Border Crossings:  Kusturica's Time of the Gypsies and Coppola's Godfather and Godfather II
  • Twelve—  Made in Hong Kong:  Translation and Transmutation
  • Thirteen—  Modernity and Postmaternity:  High Heels and Imitation of Life
  • Fourteen—  Feminist Makeovers:  The Celluloid Surgery of Valie Export and Su Friedrich
  • Fifteen—  Nosferatu , or the Phantom of the Cinema
  • Sixteen—  How Many Draculas Does It Take to Change a Lightbulb?
• PART THREE—  ALTERED STATES:  TRANSFORMING MEDIA
  • Seventeen—  The Superhero with a Thousand Faces:  Visual Narratives on Film and Paper
  • Eighteen—  "Tonight Your Director Is John Ford":  The Strange Journey of Stagecoach from Screen to Radio
  • Nineteen—  M*A*S*H Notes
  • Afterword:  Rethinking Remakes

• Notes
• NOTES ON CONTRIBUTORS
• CREDITS