The 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—Joan of 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.

"The first book-length account of the symbolic chains that link remakes and explain their disguises, Film Remakes as Rituals 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-Joan of 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 III film 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 theatres 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, Zanger offers an insightful addition to current debates in film theory and cinema history--Website OAPEN Library" (cf OCLC)

What happens when a film is remade in another national context? How do notions of translation, adaptation and localisation help us understand the cultural dynamics of these shifts, and in what ways does a transnational perspective offer us a deeper understanding of film remaking? Bringing together a range of international scholars, Transnational Film Remakes is the first edited collection to specifically focus on the phenomenon of cross-cultural remakes. Using a variety of case studies, from Hong Kong remakes of Japanese cinema to Bollywood remakes of Australian television, this book provides an analysis of cinematic remaking that moves beyond Hollywood to address the truly global nature of this phenomenon. Looking at iconic contemporary titles such as The Girl with the Dragon Tattoo and Oldboy, as well as classics like La Bete Humaine and La Chienne, this book interrogates the fluid and dynamic ways in which texts are adapted and reworked across national borders to provide a distinctive new model for understanding these global cultural borrowings.

The Ring (2002)—Hollywood’s remake of the Japanese cult success Ringu (1998)—marked the beginning of a significant trend in the late 1990s and early 2000s of American adaptations of Asian horror films. This book explores this complex process of adaptation, paying particular attention to the various transformations that occur when texts cross cultural boundaries. Through close readings of a range of Japanese horror films and their Hollywood remakes, this study addresses the social, cultural, aesthetic and generic features of each national cinema’s approach to and representation of horror, within the subgenre of the ghost story, tracing convergences and divergences in the films’ narrative trajectories, aesthetic style, thematic focus and ideological content. In comparing contemporary Japanese horror films with their American adaptations, this book advances existing studies of both the Japanese and American cinematic traditions, by: illustrating the ways in which each tradition responds to developments in its social, cultural and ideological milieu; and, examining Japanese horror films and their American remakes through a lens that highlights cross-cultural exchange and bilateral influence. The book will be of interest to scholars of film, media, and cultural studies.

It gives me immense pleasure to welcome all to explore/publish/ comment in/on our journal, The International Journal of Indian Psychology (IJIP). There are a lot of challenges which the growing psychological face in the realms of basic necessities in life. Psychological thoughts can play a very distinct role in bringing about this change. One of the key objectives of research should be its usability and application. This journal attempts to document and spark a debate on the research focused on psychological research and ideas in context of emerging geographies. The sectors could range from psychological education and improvement, mental health, environmental issues and solution, health care and medicine and psychological related areas. The key focus would however be the emerging sectors and research which discusses application and usability in social or health context. We intended to publish case reports, review articles, with main focus on original research articles. Over objective is to reach all the psychological practitioners, who have knowledge and interest but have no time to record the interesting cases, research activities and new innovative procedures which helps us in updating our knowledge and improving our treatment. Finally, I would like to thank RED’SHINE International Publications, Inc for this keepsake, and my editorial team, technical team, authors and well wishers, who are promoting this journals. With these words, I conclude and promise that the standards policies will be maintained. We hope that the research featured here sets up many new milestones. I look forward to make this endeavour very meaningful.

The contributors to this volume explore the themes of fear, cultural anxiety, and transformation as expressed in remade horror, science fiction, and fantasy films. While opening on a note that emphasizes the compulsion of filmmakers to revisit issues concerning fear and anxiety, this collection ends with a suggestion that repeated confrontation with these issues allows the opportunity for creative and positive transformation.

Providing a cross-cultural investigation of the current phenomenon of transnational television remakes, and assembling an international team of scholars, this book draws upon ideas from transnational media and cultural studies to offer an understanding of global cultural borrowings and format translation. While recognising the commercial logic of global television formats that animates these remakes, the collection describes the traffic in transnational television remakes not as a one-way process of cultural homogenisation, but rather as an interstitial process through which cultures borrow from and interact with one another. More specifically, the chapters attend to recent debates around the transnational flows of local and global media cultures to focus on questions in the televisual realm, where issues of serialisation and distribution are prevalent. What happens when a series is remade from one national television system to another? How is cultural translation handled across series and seasons of differing length and scope? What are the narrative and dramaturgical proximities and differences between local and other versions? How does the ready availability of original, foreign series shape an audience’s reception of a local remake? How does the rhetoric of ‘Quality TV’ impact on how these remakes are understood and valued? In answering these and other questions, this volume at once acknowledges both the historical antecedents to transnational trade in broadcast culture, and the global explosion in, and cultural significance of, transnational television remakes since the beginning of the twenty-first century. This book was originally published as a special issue of Continuum.