By Amanda Ann Klein
With sequels, prequels, remakes, spin-offs, or copies of profitable movies or franchises dominating movie and tv construction, it occasionally turns out as though Hollywood is incapable of creating an unique movie or television express. those textual pluralities or multiplicities—while enjoyed via lovers who flock to them in droves—tend to be pushed aside through critics and students as markers of the loss of life of excessive tradition. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the other view, surveying a variety of foreign media multiplicities for the 1st time to explain their value for audiences, commercial practices, and well known culture.
The essays during this quantity provide a huge photograph of the ways that cinema and tv have used multiplicities to streamline the creation strategy, and to capitalize on and take advantage of viewer curiosity in formerly winning and/or sensational tale homes. a powerful lineup of proven and rising students speak heavily approximately different types 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 movies. They exhibit 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 identical tale (or personality or topic) over and over. those findings display that, faraway from being lowbrow artwork, multiplicities are literally doing vital cultural paintings that's very beneficial of great research.
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Extra resources for Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television
W. Bitzer), What Happened in the Tunnel (1903, Edwin S. Porter), The Story the Biograph Told (1904, American Mutascope and Biograph), A Race for a Kiss (1904, Lewin Fitzhamon), Kiss Me (1904, American Mutascope and Biograph), Nervy Nat Kisses the Bride (1904, Edwin S. Porter), The Misdirected Kiss (1904, American Mutascope and Biograph), Kiss Me (1904, American Mutascope and Biograph), and A Ballroom Tragedy (1905, American Mutascope and Biograph), among others. 8 Sokalski notes that Irwin, being an actress with a formidable stage presence, had a “measure of control” over her performance in The John C.
Outside of commercial visual media, it is an event less frequent than one would think” (301). indb 27 12/16/15 4:24 PM 28 amanda ann klein ine the act closely, without the need for the “civil inattention” such an act provokes when performed by present bodies (311). Linda Williams adds that “the excitement around new technologies of vision went hand-in-hand with the excitement around newly mediated revelations of sex” (2006, 291). Indeed, the new cinematic technology displayed by The May Irwin Kiss provided voyeurs with a socially acceptable venue for examining the previously intimate, hidden act of kissing, and from a viewing position (a medium close-up) that would be unconscionable in real life.
He sits down next to the woman and removes her mask, revealing that she is laughing heartily. He puts his arm around her, and she leans against him as he joins her in laughter. In the fi nal seconds of the film, he turns and kisses her on the cheek, which seems to please her. Then the scene fades to black. The plot of A Frontier Flirtation was likely a reflection of, or a reaction to, the many accounts of women who, fed up with the unwanted attentions of mashers, fi nally began fighting back. indb 31 12/16/15 4:24 PM 32 amanda ann klein “Quick as a flash Miss Irving’s shapely gloved fist shot out straight from the shoulder, landing on the masher’s nose with such force that, with a yell of surprise and pain, he staggered back” (National Police Gazette 1895).