Film Remakes as Ritual and Disguise: From Carmen to Ripley (Amsterdam University Press - Film Culture in Transition) PDF
Preview Film Remakes as Ritual and Disguise: From Carmen to Ripley (Amsterdam University Press - Film Culture in Transition)
FilmRemakesasRitualandDisguise Film Remakes as Ritual and Disguise From Carmen to Ripley Anat Zanger Frontcoverillustration:carmen(),directedbyCarlosSaura ©EmilianoPiedro/TelevisionEspañola Backcoverillustration:bizet’scarmen(),directedbyFrancescoRosi ©EmilianoPiedro/TelevisionEspañola isbn- (paperback) isbn- (paperback) isbn- (hardcover) isbn- (hardcover) nur ©AmsterdamUniversityPress,Amsterdam Allrightsreserved.Withoutlimitingtherightsundercopyrightreservedabove,nopart ofthisbookmaybereproduced,storedinorintroducedintoaretrievalsystem,ortrans- mitted,inanyformorbyanymeans(electronic,mechanical,photocopying,recordingor otherwise)withoutthewrittenpermissionofboththecopyrightownerandtheauthorof thebook. Table of Contents Acknowledgments 7 Introduction 9 StructureandContent Chapter1 Psycho:InsideandOutsidetheFrame 13 TheCinematicInstitution TheDynamicofRepetitions Psycho,FetishismandPleasure Part One First Variation: Carmen Chapter2 TheGameBegins 29 I Versions II IntertextualSources III Variability IV Carmen’sChain Chapter3 MutedVoices 43 I Olympia II Re-Significations III Carmen’sTransgression IV FilmingtheHabañera V TheTransformationsofCarmen Chapter4 Masks 55 I BorrowingObjectiveDiscourse II TheTraveller’sGaze:IndirectCharacterization III PlacingandRe-PlacingEthnicity IV SpaceandtheSmugglingGesture V Conclusionor“WilltheMarvelous,BeautifulStoryofCarmen LiveForever?”(Chaplin) 6 FilmRemakesasRitualandDisguise Part Two Second Variation: Joan Chapter5 TheGameAgain 69 I Histories II UnattainableMythemes III RegimeofDiscourses Chapter6 HearingVoices 85 I Image,BiographyandHistoryorLetUsNowPraise FamousMen II TheAmbiguityofHistoricalImages III TheVoicesasanAnxiousSign IV AnIntertextualDialogue Chapter7 Disguises 101 I DiscoursesandDetours II VersionandMeta-Version III DisguisedVersions IV Repetition,CulturalMemoryandTrauma Conclusion Chapter8 RepetitionsasHiddenStreams 119 I LookingBack II RepetitionsandVariations III FetishismandExorcism 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- searchAuthorityforresearchgrants(-)thathavemadethisbookpos- sible. My research was carried out in archives and libraries of the British Film Institute and the Huntley Archives (London), La Cinémathèque Français, BiFi – BibliothèquedufilmandLaBibliothèque-Muséedel’OpéraNationaldeFrance(Paris), CentreNationaldelacinématographie,ArchivesduFilm,Boisd’Arcy,CentreJeanne 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- sionDepartmentatTelAvivUniversity.Iwouldliketothankallthesearchives andlibrariesfortheuseoftheirfacilities. My first meeting with the subject of repetition in films came about during researchformyPh.D.dissertationattheSchoolofCulturalStudiesatTelAviv University. My doctoralworkwas supervisedby Prof. Brian McHale(formerly ofTelAvivUniversity,nowofOhioStateUniversity,Columbus)towhomIowe 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.HenryJenkinsandProf.PeterDonaldsonoftheDepartmentofMediaStu- diesatMIT,where Icontinuedmyresearch.ManythanksarealsoduetoProf. Daniel Dayan, Prof. Linda Dittmar and Prof. Vivian Sobchack, of CNRS (France), UCLA, and University of Massachusetts (Boston), respectively, for theircommentsandencouragementintheearliestphasesoftheproject. 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 werepublishedinAssaphKolnoa:StudiesinCinema&Television():-(). ApartialversionofChapterwaspresentedattheSCSConferenceatLaJolla, California () and published by the Porter Institute of Tel Aviv University ().Chapterisbasedonanarticleentitled“DesireLtd:OnRomanies,Wo- 8 FilmRemakesasRitualandDisguise men,andOtherSmugglersinCarmen”publishedinFramework’sspecialissueon cinematic images of Romanies. Guest editor Dina Iordanova () : -, Fall, . I wish to thank the respective publishers and editors for publishing my essaysandforallowingmetoreprinttheminthisbook,ineachcaseinasome- whatalteredorrevisedform. IowespecialthankstoProf. FreddieRokem,Dean oftheFacultyoftheArts andtomycolleaguesandfriendsattheFilmandTelevisionDepartmentatTel Aviv University, especially Prof. Mihal R. Friedman, Prof. Nurith Gertz, Prof. Yehouda (Judd) Ne’eman, Dr. Dubi Rubenstein and OrnaErez who supported andencouragedmeduringdifferentphasesofthisproject. IwouldliketoexpressmydeepestgratitudetoChayaAmirandRuthRuzga for copy-editing this manuscript with great care and insightfulness. Finally, I wouldliketoexpressmyappreciationtomymother,Hedva(Maimon)Zanger, andmylatefather,KopelZanger,fortheirsupportandencouragement,andto mydaughterTalwho,fromthetimeshewastwoyearsold,sharedwithmeall of my travels, endless sessions in archives and libraries, and who sat through manyofthevideoversions;shewas,morerecently,responsibleforthegraphic sideofthemanuscript. AnatZanger TelAviv,December Introduction Thetraditionalhistoryofculturetakesintoconsiderationforeachchrono- logicalsectiononly“new”texts,textscreatedbythegivenage.Butinthe realexistenceofculture,textstransmittedbythegivenculturaltraditionor introducedfromoutsidealwaysfunctionsidebysidewithnewtexts. (JuriLotman,) CinemaasasocialinstitutionknowswhatScheherazadeseemstohaveknown all along: to narrate is to triumph over death. Hence, in an ongoing ceremony thatoccursinthedarknessofthemovietheater(andlasts,ultimately,morethan nights),societyconstantlydeliversitsencodedmessages.Theconstantre- 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’sterm,)intheimaginaryarchiveofthecinema. The tendencyof 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 alreadyexist, what is the purpose of re-addressing and re-articulating the same story time and again?Theaimofthisbookistotracetheculturalandaestheticinstrumentalities ofthechainsofremakesandtolocatetheremakeaspartofthecinematicinsti- tutionthathasshapedandreshapedcollectiveimaginationthroughthesitesof itspleasures,fearsandtraumas. The relationship between original and version encapsulates the dialectic of repetition,thedialecticbetweenoldandnew,beforeandafter,desireandfulfill- ment. Using the tales of Psycho, Carmen and Joan of Arc as its navigators, Film RemakesasRitualandDisguiseexploresthephenomenonofmulti-versionsasone thatilluminatesthepreferencesandpoliticsofthecinematicapparatusthrough itschoicesofrepetitionanddifferentiation. One of the most popular series that the cinema has produced stems from AlfredHitchcock’sfilmPsycho().Cinema(andculture)embracedPsycho and endowed it with a “cult” status, complete with quotations, allusions, ho- mages, and direct andindirect transformations.Threesequels havesofar been made – by Richard Franklin (), Anthony Perkins (), and Mick Garris (). Homage was paid to Psycho with pastiches like Tobe Hooper’s Texas ChainsawMassacre(),JohnCarpenter’sHalloween()andBriande
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