Rimejk (remake)
Prema Hortonu i MekDagalu:
Rimejk nastaje na raskršću starog i novog, poznatog i nepoznatog; a filmski rimejk, početkom drugog stoleća filma, doživljava svoj puni procvat i pokušava da mapira njegovu, dotad, prilično neistraženu teritoriju. Filmski se rimejk ne odnosi samo na originalne filmove, već i sam može biti predmet rimejka u drugim medijima (uključujući knjigu, radio, televiziju). Osnovna polazišta su izvedena iz međusobnih uslovljenosti filma i različitih teorija kulture, roda i žanra, a posebno psiholoških pristupa; sve prateći trag rimejka kao osobene umetničke forme ponavljanja s uvođenjem pojedinih razlika, s jedne; a s druge, istovremeno, kao komercijalne produkcije u kontekstu realizacije ciljeva industrije zabave i sna. U pokušaju uspostavljanja preliminarne taksonomije filmskog rimejka – uz napomenu da nema čvrstih razgraničenja, već mnogi filmovi mogu istovremeno pripadati dvema ili više kategorija rimejka – ovde je ključni kriterijum filmski narativ: (redom uključivanja) intertekstualnost, paratekstualnost, metatekstualnost, hipertekstualnost i arhitekstualnost. Ključne fraze su: celluloid surgery, cinematic remakes, film remade, movie remakes, aesthetic text.
Kinds of Remakes:
A Preliminary Taxonomy 1. § a silent film remade as a sound film: Ben Hur (Fred Niblo, 1926, and William Wyler, 1959); § a silent film remade by the same director as a sound film: Ernst Lubitsch’s Kiss Me Again (1925) and That Uncertain Feeling (1941) or Cecil B. DeMille’s The Ten Commandments (1923 and 1956); § a major director’s silent film remade as a sound film by a different major director: F. W. Murnau’s Nosferatu (1922) and Werner Herzog’s Nosferatu, the Vampire (1979). 2. § A sound film remade by the same director in the same country: Frank Capra’s Lady for a Day (1936) and A Pocketful of Miracles (1961); § a sound film remade by the same director in a different country in which the same language is spoken: Alfred Hitchcock’s The Man Who Knew Too Much (1934, England, and 1954, United States); § a sound film remade by the same director in a different country with a different language: Roger Vadim’s And God Created Woman… (1957, France, and 1987, United States). 3. A film made by a director consciously drawing on elements and movies of another director: Howard Hawks’s and Brian DePalma’s Scarface (1932 and 1983); Alfred Hitchcock’s Vertigo (1959) (and Rear Window [1955] and Psycho [1960]), and DePalma’s Obsession (1976), Body Double (1984), and Raising Cain (1992). 4. § A film made in the United States remade as a foreign film: Diary of a Chambermaid by Jean Renoir (1946, France) and Luis Buñuel (1964, France); § a film made in a foreign country remade in another foreign country: Yojimbo (Akira Kurosawa, 1961) and A Fistful of Dollars (Sergio Leone, 1964); § a foreign film remade in another foreign country and remade a second time in the United States: La Femme Nikita (Luc Besson, 1990, France), Black Cat (1992, Hong Kong) (thanks to Scott Higgins), and Point of No Return (John Badham, 1993); § a foreign film remade in the United States: La Chienne (Jean Renoir, 1931) and Scarlet Street (Fritz Lang, 1945) and Breathless (Jean-Luc Godard, 1960, and Jim McBride, 1983). 5. § Films with multiple remakes spanning the silent and sound eras: Sadie Thompson (Raoul Walsh, 1928), Rain (Lewis Milestone, 1932) and Miss Sadie Thompson (Curtis Bernhardt, 1953); § films remade within the silent and sound eras as well as for television: Madame X (Lionel Barrymore, 1929 [the third silent remake of the silent film]; Sam Wood, 1937; David Lowell-Rich, 1966 [the Lana Turner version]; and, for television, Robert Ellis Miller, 1981 [with Tuesday Weld]). 6. § A film remade as television film: Sweet Bird of Youth (Richard Brooks, 1962, and Nicholas Roeg, 1989); § a film remade as a television miniseries: East of Eden (Elia Kazan, 1955, and Harvey Hart, 1981); § a television series remade as a film: Maverick (Richard Donner, 1994) and The Flintstones (Brian Levant, 1994). 7. § A remake that changes the cultural setting of a film: The Big Sleep (Howard Hawks, 1946, United States, and Michael Winner, 1978, Great Britain); § a remake that updates the temporal setting of a film: Murder, My Sweet (Edward Dmytryk, 1944) and Farewell My Lovely (Dick Richards, 1975); A Star Is Born (William Wellman, 1937, George Cukor, 1954, and Frank Pierson, 1976); Out of the Past (Jacques Tourneur, 1948) and Against All Odds (Taylor Hackford, 1984); § a remake that changes the genre and cultural setting of the film: The Lives of a Bengal Lancer (Henry Hathaway, 1935) re made as a western, Geronimo (Paul H. Sloane, 1939); the western High Noon (Fred Zinnemann, 1954) remade as the science fiction film Outland (Peter Hyams, 1981). 8. § A remake that switches the gender of the main characters: The Front Page (Lewis Milestone, 1931); His Gal Friday (Howard Hawks, 1941); § a remake that reworks more explicitly the sexual relations in a film: William Wyler’s These Three (1936) and The Children’s Hour (1961); The Blue Lagoon (Frank Launder, 1949, and Randal Kleiser, 1980). 9. § A remake that changes the race of the main characters: Anna Lucasta (Irving Rapper, 1949, with Paulette Goddard; Arnold Laven, 1958, with Eartha Kitt). 10. A remake in which the same star plays the same part: Ingrid Bergman in the Swedish and American versions of Intermezzo (Gustav Molander, 1936, and Gregory Ratoff, 1939); Bing Crosby in Holiday Inn (Mark Sandrich, 1942) and Holiday Inn (Michael Curtiz, 1954). 11. A remake of a sequel to a film that is itself the subject of multiple remakes: The Bride of Frankenstein (James Whale, 1975) and The Bride (Frank Roddam, 1985). 12. Comic and parodic remakes: Frankenstein (James Whale, 1931) and Young Frankenstein (Mel Brooks, 1954); Strangers on a Train (Alfred Hitchcock, 1951) and Throw Mamma from the Train (Danny DeVito, 1987). 13. Pornographic remakes: Ghostbusters (Ivan Reitman, 1984) and Ghostlusters (1991); Truth or Dare (Alex Kashishian, 1991) and Truth or Bare (1992) (thanks to Peter Lehman). 14. A remake that changes the color and/or aspect ratio of the original: The Thing (Christian Nyby, 1951, black-and-white; John Carpenter, 1982, color and Panavision); Invasion of the Body Snatchers (Don Siegel, 1956, black-and-white and Superscope; Phil Kaufman, 1978, color and 1.85 to 1 aspect ratio). 15. An apparent remake whose status as a remake is denied by the director: Michelangelo Antonioni’s Blow-Up (1966) and Francis Ford Coppola’s The Conversation (1974). |
Prema Šuvakoviću:
Interpretacija konstituiše umetničke radove. Čitalac i gledalac dovršavaju umetničko delo svojom interpretacijom, koja može biti:
- konstitutivni deo umetničkog dela (metaproza i metapoezija),
- specifični poredak kodova umetničkog dela koji ukazuje na njegovu konceptualnu i teorijski odredljivu prirodu (ready–made),
- atmosfera sveta umetnosti u kome delo nastaje i u kome se prezentuje (uobičajeni odnos interpretacije i umetničkog dela), i
- transformacija umetničkog dela („komada”: pesme, proze, slike, filma, muzičkog rada) u teorijski primer ili teorijski diskurs (poststrukturalistička teorija, konceptualna umetnost).
Postmodernistički rimejk karakterišu:
- eksplicitno citiranje, kolažiranje i montaža elemenata originala,
- prenaglašavanje „jakih“ ili „slabih“ mesta polaznog dela,
- retorički i parodijski obrti od tragičnog u komično i obratno,
- realizacija rimejka kao reinterpretacije izvornog umetničkog dela, odnosno, ugrađivanje različitih interpretativnih gledišta u originalni tekst ili strukturu polaznog dela, i
- postmodernistički rimejk nije odavanje poštovanja „originalu“ već potrošačka (semantičko-aksiološka) upotreba, razmena i potrošnja umetničkih dela.
Prema Radinović Andrić:
Putem preispitivanja važećih kriterijuma za taksonomiju, pokušaj pozicioniranja filmskog rimejka u prostoru umetnosti i identifikovanje njegovih estetskih vrednosti uslovljava dopunu ključnih fraza (Horton/MekDagal) – fenomenima: interpretacija i aprecijacija.
Interpretacija umetnosti može se definisati u najmanje 3 različita konteksta:
- kao integralni segment doživljaja i odziva na umetničko delo (ovde je neophodno konsultovati antologijski esej Suzan Zontag usmeren protiv interpretacije!)
- kao neizostavni diskurs umetničke kritike (deskripcija, analiza, interpretacija, evaluacija)
- kao stilizovana interpretacija do kreiranja novog umetničkog dela
Otvoreni su istraživački pristupi interpretacije i aprecijacije filmskog rimejka nastalog kroz:
- translaciju – prema Vujakliji: translacija (lat. translatio) 1. prenos, prenošenje, premeštanje; 2. prevod, prevođenje (na drugi jezik); 3. prenošenje, prenos (nekog prava); 4. fiz. pomerno kretanje, kretanje jednog tela kod koga sve njegove tačke opisuju paralelne, podjednake, istoupravljene puteve
- transformaciju – prema Vujakliji: transformacija (lat. transformatio) 1. pretvaranje, preobražavanje, preinačavanje, preobličavanje; preuobličenje, preuobličenost; 2. pretvaranje struje visokog napona u struju niskog napona i obratno, prema teoriji transformacije; ® transformizam – učenje o preobražavanju živog sveta u toku istorijskog razvitka
- transpoziciju – prema Vujakliji: transpozicija (lat. transpositio) 1. premeštanje, premeštaj; prebacivanje članova jednačine s jedne strane na drugu; muz. prevođenje na drugi ton.
Izvori:
- Horton, Andrew/McDougal, Stuart Y. (ed) (1998) Play It Again, Sam: Retakes on Remakes, University of California Press, Berkeley/Los Angeles/London.
- Radinović Andrić, Katarina (2010) Postavljanje istraživačkog projekta o filmskom rimejku, Akademija umetnosti, Beograd.
- Sontag, Susan (1961) Against Interpretation, New York.
- Šuvaković, Miško (1995) Postmoderna, Narodna knjiga/Alfa,
- Vujaklija, Milan (1980) Leksikon stranih reči i izraza. Beograd.