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The Contemporary American Horror Film Remake, 2003-2013

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RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. This thesis concludes with a discussion of the most recent horror remakes, and reiterates the findings from the preceding chapters. Ultimately, genre remakes remain prevalent because they are often profitable and cater for a guaranteed audience. They are commercial products, but also represent some of the more creative entries in horror cinema over the last decade, and their success enables further productions. Rather than being understood as simplistic derivative copies, horror remakes should be considered as intertextual adaptations which both draw from and help to shape the genre. 2 Contents Abstract ................................................................................................. 2 Acknowledgements ............................................................................... 6 Chapter 1: Introduction ......................................................................... 8 Context, Scope and Approach .......................................................................... 9 Structure ........................................................................................................ 20 Chapter 2: Literature Review .............................................................. 23 Adaptation Studies ........................................................................................ 23 Remakes and Remaking ............................................................................... 29 Horror Remakes ............................................................................................ 36 Additional Literature: Horror and Beyond ...................................................... 43 Chapter 3: Horror, Remakes and Adaptation: Defining and Defending the Horror Remake .............................................................................. 50 Remaking, Repetition and Generic Recycling ................................................. 52 Defining the Remake: Issues and Complications ........................................... 58 A Note on Fidelity: Favouring the Original ..................................................... 71 Conclusion ..................................................................................................... 78 Chapter 4: Re-writing Horror Mythology: Platinum Dunes and the Franchise ‘Reboot’ ............................................................................... 81 Platinum Dunes: ‘The House the Remake Built’ ............................................. 82 The Franchise Reboot .................................................................................... 86 “Remember Me?” Horror Icons & Franchise Mythology ................................. 90 Selling the Reboot ....................................................................................... 108 Conclusion ................................................................................................... 110 3 Chapter 5: Distinction and Difference in the Slasher Film Remake .. 115 The Original Slasher Cycle and its Turn to the ‘Postmodern’ ....................... 117 The Slasher Remake, 2003 – 2013: An Overview ........................................ 124 The Slasher Remake as Auteurist Exploitation Film: Rob Zombie and Halloween .................................................................................................... 134 Point-of-View in the ‘Arty-Slasher’: Maniac .................................................. 145 Conclusion ................................................................................................... 156 Chapter 6: Socio-political Allegory in 1970s Horror Films and their Post-9/11 Remakes ........................................................................... 158 Horror, Politics and Society in 1970s America .............................................. 159 Horror Remakes Post-9/11 .......................................................................... 169 Ambiguity and Entertainment: The Texas Chainsaw Massacre and The Hills Have Eyes .................................................................................................... 176 Remaking Romero: Dawn of the Dead and The Crazies .............................. 186 Conclusion ................................................................................................... 198 Chapter 7: Gender and Genre in the Rape-revenge Remake ............ 202 Gender, Class and Rape ............................................................................. 204 Revenge, Role Reversal and the ‘Monstrous’ Feminine .............................. 214 Contemporary Genre Trends, Torture Porn and Retribution ....................... 222 Conclusion................................................................................................... 230 Chapter 8: Conclusion ....................................................................... 233 Appendix 1: American Horror Remakes, 2003-2013 ........................ 241 Appendix II: Publications .................................................................. 251 Appendix IIa: The re-rape and revenge of Jennifer Hills: Gender and genre in I Spit On Your Grave (2010) ........................................................................ 251 Appendix IIb: ‘Evil Dead’ (Review) .............................................................. 276 4 Appendix IIb: I Spit on Your Grave 2: “Why bother?” .................................. 280 Bibliography ....................................................................................... 283 Filmography ....................................................................................... 316 5 Acknowledgements First and foremost, this study would not have been possible without the funding provided by the Arts & Humanities Research Council, and I would like to thank both the AHRC and everyone at De Montfort University who helped at some stage during my application to the Studentship Competition. Ian Hunter and Steve Chibnall provided guidance, feedback and suggestions on my work which helped me throughout the PhD process. More than this, they have offered support, friendship and advice (and the occasional beer) above and beyond the call of supervisory duty, allayed my fears and kept me in check over the last three and a half years, and I am as grateful for this as I am their academic expertise – thank you, both. James Russell offered additional valued advice and opportunities, and was both patient and encouraging while I balanced writing with regular teaching – thanks, Jim. The postgraduates past and present in the CATH Research Centre have contributed to a welcoming, friendly and stimulating research environment that I have been proud to be a part of. I have been lucky to work alongside some great friends, and I am especially going to miss my In Motion team; Jilly Boyce Kay, Hazel Collie, Cat Mahoney, Charley Meakin and Caitlin Shaw, it’s been a pleasure, guys. Extra special thanks to Hazel and Charley for their incredible cheerleading skills. Thanks too to Eve Bennett, Dieter Declercq, Lewis Howse, Alex Rock and Jennie Voss. Johnny Walker helped steer me through the confusing early stages of doctoral study, joined me in many productive late night PhD talks, came up with better titles than I could, and always looked out for me. Cheers mate. Caitlin Shaw has been my closest friend and confidante, provided much laughter and more support than I had any reasonable right to expect. Thanks buddy. Wickham Clayton, Austin Fisher, Sarah Harman, Finn Jackson Ballard, Bethan Jones, Iain Robert Smith and Tom Watson all provided inspiring academic debate and fun conference times, as did Laura Christiansen who was also so very accommodating. Devi Gill has been an on-campus, off-topic blessing. I’ve appreciated chats with Nia Edwards-Behi on our shared research interests. Martin Barker, Xavier Mendik and Billy Proctor
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