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• W2965502783 abstract "(Re)made in the USA Encore Hollywood: Remaking French Cinema, Lucy Mazdon, British Film Institute, 2000. Lucy Mazdon begins Encore Hollywood: Remaking French Cinema by citing a review of The Assassin, John Badham's 1993 remake of Luc Besson's Nikita (1990). Mazdon states that in condemning the American remake as a poor imitation of its French-Italian counterpart, the review aligns itself with the vast majority of critical accounts of film remakes of the 1980s and 1990s. In these accounts-specifically those dealing with American remakes of French films-cinematic remaking is understood as a one-way process: a movement from authenticity to imitation, 'from the art of the French Original' to the commercialism of the American 'copy (p.5). In place of such reductive negativity Mazdon's Encore Hollywood seeks to put forward a 'genealogical approach' to cinematic remaking, one which would replace the essentialist trajectories, which lead from the superior self-identity of the original to the resemblance of the copy, with 'the circles and bifurcations of intertextuality and hybridity' (p.148). As Mazdon asks toward the end of the book: How can it be possible to criticise the remake as non-original, as a [degraded] copy, when all films [once inserted in an ongoing dialogical process] can in some way be seen as copies? (151). Mazdon locates the uniform hostility directed toward American remakes of French films from the past two decades in a specific sociohistorical conjuncture, arguing that remaking as a process of exchange between France and the United States is bound up not only with cinematic practices (both material and aesthetic) but is located, too, within the social and political relations between the two nations (5). For instance, Mazdon states that French reactions to 'globalisation', in particular GATT negotiations of the early 1990s, reflect and contextualise the discourses surrounding the remake process: just as the deregulation of audiovisual industries was claimed to threaten the preservation of [authentic] French culture through the influx of American mass culture, so the remake was seen to undermine French cinema through the transformation of quality French productions within the debased context of Hollywood [opportunism] (11). This tendency in France to reduce issues of globalisation to 'Americanisation' means that the acquisition of a French film property for remaking in the context of Hollywood is seen as an instance of 'cultural imperialism', while the distribution of the French original within the 'high cultural' context of the American art-cinema circuit is taken as evidence of the legitimacy and universality of French (film) culture (11-12). Across the pages of Encore Hollywood, Mazdon strives to demonstrate that 'any attempt to define a cinematic work as uniquely French or American, as a product of high or popular culture, must always acknowledge the mutability of such definitions', and the specificity of the film's context of production and reception (149). …" @default.
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• W2965502783 title "Re)made in the USA" @default.
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