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2016, Media Commons
Film Remakes, Adaptations and Fan Productions: Remake | Remodel, Edited by Kathleen Loock and Constantine Verevis
Film Remakes, Adaptations and Fan Productions: Remake | Remodel2012 •
This book provides a dynamic investigation of processes of cultural reproduction – remaking and remodelling – in film, television and new media. Drawing on a wide variety of Hollywood and other examples, this impressive group of contributors considers a wide range of film adaptations, remakes and fan productions from various industrial, textual and critical perspectives. Their case studies discuss new versions of popular texts such as The Manchurian Candidate, Invasion of the Body Snatchers and The Stepford Wives. They provide new perspectives on the unlimited cultural production of classics like The Wizard of Oz, Wuthering Heights and The Adventures of Sherlock Holmes, and they analyze the groundbreaking work of fan appropriations, including Batman and Spiderman fanvids, and fanfic trailer revisions for The Shining and television's The Adventures of Merlin.
TV/Series, Vol 6
Seriality and Transmediality in the Fan Multiverse: Flexible and Multiple Narrative Structures in Fan Fiction, Art, and Vids2014 •
This article explores new forms of serial structure found in transmedia story worlds, with particular attention to the innovations of amateur transmedia works. Although the term transmedia has most often been associated only with corporate media at the center, taking amateur works as the paradigmatic example produces new insights into the affordances of digital technology, beyond the industry’s limitations, namely how transmedia creativity can function in the absence of the need to remain marketable, to maintain a coherent brand, and to work within a corporate family of conglomerated media companies. This study thereby focuses on fan fiction, art, and “vids”, a form of remix video collage, to demonstrate how contemporary amateur production interacts with professional content, but also produces its own type of complex narration through unique forms, aesthetics, and story structures, likewise encouraging alternate reception practices as a result. This article identifies at least three types of transmedial seriality elucidated by studying amateur fan media. First, fan works emphasize the increasingly complex nature of seriality in all transmedia and the way in which serial effects do not vanish, but increasingly depend upon the viewer’s choices. Secondly, fan works create their own kind of flexible and multiple serial effects wherein meaning does not depend on consuming a specific sequence of narratives, but instead upon reading any collection of narratives within larger cycles or tropes to assemble a sense of flowing norms, genres, and preferences. Finally, fan works also uniquely analyze and reconfigure the serial effects of tropes found not only across the transmedia components of individual stories, but also across the breadth of popular culture. By remixing and reimagining repeated structures of representation, fan works often call attention to latent forms of seriality within popular culture as a collective whole.
Film Reboots, edited by Daniel Herbert and Constantine Verevis
Introduction: Film Reboots, co-authored with Daniel Herbert2020 •
Velvet Light Trap
Cycles , Sequels, Spin-Offs, Remakes, and Reboots: Multiplicities in Film and Television2017 •
2016 •
Travelling around Cultures: Collected Essays on Literature and Art
Resounding Words: Fan Fiction and the Pleasure of Adaptation2016 •
2021 •
The neo-slasher cycle (2000-2013) includes many films that remake, reboot, and retcon films from classical slasher movie franchises, including Halloween (2007), Friday the 13th (2009), and A Nightmare on Elm Street (2010). These films must negotiate their relationship to the original films by recontextualising viewers’ prior knowledge of a franchise. In this article I focus on the trailers for neo-slasher movies to examine how the strategies of negotiating franchise identity operate as part of the creation and circulation of a film’s narrative image prior to its release. I argue that trailers for franchise neo-slasher movies adopt a range of strategies to recontextualise viewers’ relationships to a franchise. These strategies include disavowing prior narrative continuities to erase franchise canon established in earlier films and re-mystify the monster; adopting aesthetic strategies from trailers for the original films to present themselves as remakes of the original trailers; and presenting their reference films as being identical to that of the original film to avoid disclosing changes made to the narrative.
2020 •
This article argues that, after decades of pointing towards the importance of including production and reception research into the study of film remakes, we should actually start addressing production and reception methodologies and investigate why this is necessary for the sustainability and future development of the field. I argue that a lot can be learned from the insights coming from the existing methodologies that are being used in, that is, format studies, (critical) media industry studies, (audiovisual) translation studies, and more recently the study of cultural transduction. The first section of the article mainly deals with the importance of investigating the different cultural mediators that take part in the production lifecycle of the film remake. It is contended that the analysis of film remakes should start examining the different individuals or institutions that mediate or intervene between the production of cultural artefacts and the generation of consumer preferences. The second part of the article points towards the importance of investigating the reception, experience, and interpretation of film remakes. It is shown that crucial questions like ‘(why) do audiences prefer the domestic remake over the foreign film?’, ‘how do audiences experience, interpret, and explain differences and similarities between source films and remakes?’, but also ‘how do audiences define and assess film remakes?’ remain yet to be asked. The article concludes that if the field of remake studies wishes to break out of its disciplinary boundaries, adopting a multi-methodological approach will help to further brush off its dusty character of textual analysis.
Film Reboots. Edited by Daniel Herbert and Constantine Verevis
Film Reboots2020 •
Bringing together the latest developments in the study of serial formatting practices – remakes, sequels, series – FILM REBOOTS is the first edited collection to specifically focus on the new millennial phenomenon of rebooting. Through a set of vibrant case studies, this collection investigates rebooting as a practice that seeks to remake an entire film series or franchise, with ambitions that are at once respectful and revisionary. Examining such notable examples as Batman, Ghostbusters, and Star Trek, among others, this collection contends with some of the most important features of contemporary film and media culture today.
New Review of Film and Television Studies
Critics, Clones, and Narrative in the Franchise Blockbuster2007 •
2° Convegno SISMED della Medievistica italiana
MEDIEVALISMO E COMUNICAZIONE STORICA2022 •
Environmental Research Letters
Evidence for the effectiveness of nature-based solutions to water issues in Africa2021 •
Dwory i życie dworskie w nowożytnej Europie (XVI-XVIII w.), red. P. Kuc, Kraków 2020
Castrum et curia. Problematyka badawcza dworów królewskiego i wójtowskiego w Bieczu.PDF2020 •
V International Symposium on In Vitro Culture and Horticultural Breeding
Application of Tissue Culture and Molecular Farming in the Production of Pharmaceuticals2006 •
Discrete and Continuous Dynamical Systems
Stability estimates for semigroups on Banach spaces2013 •
Journal of Nuclear Cardiology
Can the reversible regional wall motion abnormalities on stress gated Tc-99m sestamibi SPECT predict a future cardiac event?2005 •