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By Amanda Ann Klein

With sequels, prequels, remakes, spin-offs, or copies of profitable motion pictures or franchises dominating movie and tv construction, it occasionally turns out as though Hollywood is incapable of creating an unique movie or television convey. those textual pluralities or multiplicities—while enjoyed through enthusiasts who flock to them in droves—tend to be disregarded by means of critics and students as markers of the dying of excessive tradition. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the other view, surveying quite a lot of overseas media multiplicities for the 1st time to explain their value for audiences, commercial practices, and well known culture.

The essays during this quantity supply a wide photo of the ways that cinema and tv have used multiplicities to streamline the creation approach, and to capitalize on and take advantage of viewer curiosity in formerly winning and/or sensational tale houses. a powerful lineup of verified and rising students speak heavily approximately kinds of multiplicity which are infrequently mentioned as such, together with direct-to-DVD motion pictures made in Nigeria, cross-cultural eastern horror remakes, YouTube fan-generated trailer mash-ups, and Seventies animal revenge motion pictures. They convey how contemplating the actual bonds that tie texts to each other permits us to appreciate extra in regards to the audiences for those texts and why they crave a model of an analogous tale (or personality or topic) over and over. those findings reveal that, faraway from being lowbrow paintings, multiplicities are literally doing vital cultural paintings that's very precious of great examine.

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Extra resources for Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television

Sample text

Although the central spectacle of A Ballroom Tragedy is this act of violence, not the kiss, I place it in the kissing cycle because it is the act of kissing that generated the violence. Indeed, the woman in white is not a passive subject here, as was the female figure in The Amorous Guardsman. She wears a revealing dress and fl irts with her suitor, and when he leans in to kiss her, she moves to meet his lips. The dominant ideology of the time led women to believe that they would be perfectly safe riding on a train, walking down the street, or attending a party without a male escort as long as they were “truly virtuous” and “behaved appropriately” (Cohen 1992, 122).

Rome: Libbey. Urbanora. 2011. ” The Bioscope (blog), 25 July. Washington Post. 1905a. ” 7 August. ———. 1905b. ” 5 November. ———. 1905c. ” 30 December. ———. 1906. ” 15 September. ———. 1908a. ” 23 March. ———. 1908b. ” 24 March. ———. 1911. “Warring on Mashers: Women Must Be Guarded, Says Maj. ” 25 May. Weiner, Marli. 1998. Mistresses and Slaves: Plantation Women in South Carolina, 1830 –1880. Urbana: University of Illinois Press. Williams, Linda. 2006. ” Critical Inquiry 32, no. 2: 288–340. ———. 2008.

Likewise, a critical turn to multiplicities in film and television (and the way those multiplicities function across time, nation, genre, and media) offers not simply a useful critical lens, but also a method of expanding our defi nition of which texts justify scholarly attention. indb 19 12/16/15 4:24 PM 20 amanda ann klein and r. barton palmer ist scorn—makes their study, heretofore neglected, all the more important.  . this contempt also plays into centuries-long debates about what constitutes legitimate art, and thus what justifies scholarly attention” (2014, 16).

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