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Film Filmfilm Culture Cultureculture in Transition in Transition HC omslag Film Remakes 05-05-2006 15:46 Pagina 1 FILM FILM REMAKES AS RITUAL AND DISGUISE ANAT ZANGER FILMFILM CULTURE CULTURECULTURE IN TRANSITION IN TRANSITION FilmFilm RemakesRemakes asas RitualRitual andand DisguiseDisguise fromfrom carmencarmen toto ripleyripley ANATANAT ZANGER ZANGER Amsterdam University Press AmsterdamAmsterdam UniversityUniversity PressPress WWW.AUP.NL Digitally signed by Kok DN: cn=Kok, c=NL, o=Korpershoek Ontwerpen, [email protected] Kok Date: 2006.05.05 15:53:11 +02'00' Film Remakes as Ritual and Disguise Film Remakes as Ritual and Disguise From Carmen to Ripley Anat Zanger Front cover illustration: carmen (), directed by Carlos Saura © Emiliano Piedro / Television Española Back cover illustration: bizet’s carmen (), directed by Francesco Rosi © Emiliano Piedro / Television Española isbn- (paperback) isbn- (paperback) isbn- (hardcover) isbn- (hardcover) nur © Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or trans- mitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Table of Contents Acknowledgments 7 Introduction 9 Structure and Content Chapter 1 Psycho: Inside and Outside the Frame 13 The Cinematic Institution The Dynamic of Repetitions Psycho, Fetishism and Pleasure Part One First Variation: Carmen Chapter2 TheGameBegins 29 I Versions II Intertextual Sources III Variability IV Carmen’s Chain Chapter 3 Muted Voices 43 I Olympia II Re-Significations III Carmen’s Transgression IV Filming the Habañera V The Transformations of Carmen Chapter 4 Masks 55 I Borrowing Objective Discourse II The Traveller’s Gaze: Indirect Characterization III Placing and Re-Placing Ethnicity IV Space and the Smuggling Gesture V Conclusion or “Will the Marvelous, Beautiful Story of Carmen Live Forever?” (Chaplin) 6 Film Remakes as Ritual and Disguise Part Two Second Variation: Joan Chapter5 TheGameAgain 69 I Histories II Unattainable Mythemes III Regime of Discourses Chapter 6 Hearing Voices 85 I Image, Biography and History or Let Us Now Praise Famous Men II The Ambiguity of Historical Images III The Voices as an Anxious Sign IV An Intertextual Dialogue Chapter 7 Disguises 101 I Discourses and Detours II Version and Meta-Version III Disguised Versions IV Repetition, Cultural Memory and Trauma Conclusion Chapter 8 Repetitions as Hidden Streams 119 I Looking Back II Repetitions and Variations III Fetishism and Exorcism References 131 Filmography 147 Credits 151 Index 153 Acknowledgments I would like to express my gratitude to the French Government (-), Prof. Nilly Cohen, former Rector of Tel Aviv University, Prof. Nurith Kenaan- Kedar, former Dean of the Faculty of the Arts and the Tel Aviv University Re- search Authority for research grants (-) that have made this book pos- sible. My research was carried out in archives and libraries of the British Film Institute and the Huntley Archives (London), La Cinémathèque Français, BiFi – Bibliothèque du film and La Bibliothèque-Musée de l’Opéra National de France (Paris), Centre National de la cinématographie, Archives du Film, Bois d’Arcy, Centre Jeanne d’Arc (Orléans), France, Filmmuseum (Amsterdam) and The Film Archives at Overveen (Netherlands), the UCLA Archives (Los Angeles), the MOMA Ar- chives (New York), The Library of Congress (Washington, DC) and the Israeli Cinematheque (Jerusalem) and the Anda Zimand Film Archive Film & Televi- sion Department at Tel Aviv University. I would like to thank all these archives and libraries for the use of their facilities. My first meeting with the subject of repetition in films came about during research for my Ph.D. dissertation at the School of Cultural Studies at Tel Aviv University. My doctoral work was supervised by Prof. Brian McHale (formerly of Tel Aviv University, now of Ohio State University, Columbus) to whom I owe a deep debt of gratitude for his illuminating comments and for his consistent interest and encouragement. I would also like to thank Prof. Edward Turk, Prof. Henry Jenkins and Prof. Peter Donaldson of the Department of Media Stu- dies at MIT, where I continued my research. Many thanks are also due to Prof. Daniel Dayan, Prof. Linda Dittmar and Prof. Vivian Sobchack, of CNRS (France), UCLA, and University of Massachusetts (Boston), respectively, for their comments and encouragement in the earliest phases of the project. Partial and early versions of the second chapter of the book on the multiple versions of Carmen were presented at international conferences and lectures at the MIT Department of Media Studies (), the Second International Confer- ence of the Film and Television Department of Tel Aviv University (), the Popular Music and the Media Conference at the University of Sheffield, UK (), and the University of Newcastle upon Tyne, UK (). The findings were published in Assaph Kolnoa: Studies in Cinema & Television (): - (). A partial version of Chapter was presented at the SCS Conference at La Jolla, California () and published by the Porter Institute of Tel Aviv University (). Chapter is based on an article entitled “Desire Ltd: On Romanies, Wo- 8 Film Remakes as Ritual and Disguise men, and Other Smugglers in Carmen” published in Framework’s special issue on cinematic images of Romanies. Guest editor Dina Iordanova () : -, Fall, . I wish to thank the respective publishers and editors for publishing my essays and for allowing me to reprint them in this book, in each case in a some- what altered or revised form. I owe special thanks to Prof. Freddie Rokem, Dean of the Faculty of the Arts and to my colleagues and friends at the Film and Television Department at Tel Aviv University, especially Prof. Mihal R. Friedman, Prof. Nurith Gertz, Prof. Yehouda (Judd) Ne’eman, Dr. Dubi Rubenstein and Orna Erez who supported and encouraged me during different phases of this project. I would like to express my deepest gratitude to Chaya Amir and Ruth Ruzga for copy-editing this manuscript with great care and insightfulness. Finally, I would like to express my appreciation to my mother, Hedva (Maimon) Zanger, and my late father, Kopel Zanger, for their support and encouragement, and to my daughter Tal who, from the time she was two years old, shared with me all of my travels, endless sessions in archives and libraries, and who sat through many of the video versions; she was, more recently, responsible for the graphic side of the manuscript. Anat Zanger Tel Aviv, December Introduction The traditional history of culture takes into consideration for each chrono- logical section only “new” texts, texts created by the given age. But in the real existence of culture, texts transmitted by the given cultural tradition or introduced from outside always function side by side with new texts. (Juri Lotman, ) Cinema as a social institution knows what Scheherazade seems to have known all along: to narrate is to triumph over death. Hence, in an ongoing ceremony that occurs in the darkness of the movie theater (and lasts, ultimately, more than nights), society constantly delivers its encoded messages. The constant re- petition of the same tale keeps it alive in social memory, continually transmit- ting its meaning and relevance. It is in this context that I suggest that the pre- sence of repetitive chains of remakes can be identified as “hidden streams” (Bazin’s term, ) in the imaginary archive of the cinema. The tendency of cinema to produce a “remake” that retells a previously suc- cessful story has to be accounted for in the light of the medium’s unique capa- city for reproduction. Given the fact that recorded versions already exist, what is the purpose of re-addressing and re-articulating the same story time and again? The aim of this book is to trace the cultural and aesthetic instrumentalities of the chains of remakes and to locate the remake as part of the cinematic insti- tution that has shaped and reshaped collective imagination through the sites of its pleasures, fears and traumas. The relationship between original and version encapsulates the dialectic of repetition, the dialectic between old and new, before and after, desire and fulfill- ment. Using the tales of Psycho, Carmen and Joan of Arc as its navigators, Film Remakes as Ritual and Disguise explores the phenomenon of multi-versions as one that illuminates the preferences and politics of the cinematic apparatus through its choices of repetition and differentiation. One of the most popular series that the cinema has produced stems from Alfred Hitchcock’s film Psycho (). Cinema (and culture) embraced Psycho and endowed it with a “cult” status, complete with quotations, allusions, ho- mages, and direct and indirect transformations. Three sequels have so far been made – by Richard Franklin (), Anthony Perkins (), and Mick Garris (). Homage was paid to Psycho with pastiches like Tobe Hooper’s Texas Chainsaw Massacre (), John Carpenter’s Halloween () and Brian de 10 Film Remakes as Ritual and Disguise Palma’s Dressed to Kill (). To that one might add Douglas Gordon’s vi- deo installation Hour Psycho () and the installation at the Hitchcock ex- hibition at the Pompidou, Paris (). But it is Gus Van Sant’s remake and declared homage to Psycho that overtly discusses the question of cinematic re- petitions. I will be using Psycho to trace the dynamics of repetitions within the framework of the horror genre which operates in and vis-à-vis mainstream cine- matic conventions. Over fifty cinematic versions of the Carmen story and almost forty of the Joan of Arc story have been produced to date. There are fewer remakes of (or sequels to) such works as Anna Karenina, The Three Musketeers, The Decameron, Don Quix- ote, Faust, the Cleopatra story or any of Shakespeare’s plays. This previously unnoticed “statistic” is clearly charged with meaning: both the Carmen and the Joan stories deal with exceptional female heroines who challenge social conven- tions and die as a result.
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