remake

The article tries to answer the question of what are the reasons for the emergence of repetition as a sustainable cultural practice. The need for it is derived first of all from the fact that culture is a phenomenon that is not inherited biologically, and therefore in the process of its transmission from generation to generation its norms must be constantly recalled and updated. Hence the need for each new idea to be legitimized as inherited from tradition. However, in the epoch of modern literature and culture, which raises the individual-creative 37principle as its main principle, this need for repetition is a paradox. And especially a manifestation of repetition, known as a remake. Moreover, the definition of this phenomenon is based not simply on the development of sustainable motifs and plots, but on their processing in previous works of art, building a specific fund of culture, which the German researcher Elizabeth Frenzel defined with the term Stoff. To find an answer to this paradox, the article analyzes two typical cases: The two film adaptations of Indro Montanelli’s novel “Il Generale della Rovere” made by Roberto Rossellini in 1959 and Carlo Carlei in 2011, on the one hand, and on the other – the famous novel quatrain of Thomas Mann “Joseph and his brothers”, written on a famous biblical story. As a result of the analysis of these typical cases, the article comes to the answer to the question what is the function of repetition in culture. On the one hand, it aims to bring the existing order of problematization and revaluation in line with the needs of the changing social environment. On the other hand, pointing to the ancient roots of the developed motif, repetition provides identity and continuity of the world. And the phenomenon of remake, as a child of the postmodern era, introduces a very effective rule: Let us not be deceived that our way of seeing and appreciating the world is the only right one. It is much better to compare different ways, which provides a much more reliable basis for free moral judgment, while preserving the stability and identity of the world.

In the first part of this paper, I juxtapose film practices such as remakes and adaptations in their dual quality of processes and products. I trace the origin and meanings of the first concept, its appearance and de- velopment as a cinemstic activity and its theoretical elaboration through studies of G. Sadoul, T. Gunning, T. Leitch, C. Verevis, J. Forrest, A. Williams et al. I highlight conceptually and with examples the difference between the two phenomena and defend the need to distinguish them, regardless of their similarities. In the second part, I discuss the network of related formats for reworking film products and their role in popular culture. Keyword

This research presents some ideas concerning the new aspects of the national spirit, the relation between person and people and also the potentialities at the figurative language within Pencho Slaveikov’s poem “Song of Blood”. The rewrite of the familiar, in literature and history as figures and events, goes beyond the usual insert to common discourse 142or ordinary remake. Pencho Slaveikov himself is a founder of discourse – with new problems and decisions, in the center of which stays a different idea of the Human. The sources of the renovation within “Song of Blood” lead to Plato’s metaphysical foundation of the world and Aris- totle’s concept of potential and they are included in the new spirit of the Individualism.

Обект на изследването са фолклорните и митологични сюжети, които биват претворени по различни начини в българската белетристика от Освобождението до Първата световна война, както и идеологическите призми, през които тези сюжети са пречупени.

The current paper aims to put one of William Gibson’s latest novels – “The Peripheral“ – in the position of comparison, the boundaries of which are set by Stanislaw Lem’s phantomology. Its main goal is to determine how much of Gibson’s work fits into the traditional notion of phantomatics. The parallel is built on the motif of remaking which is considered crucial for the analysis of the chosen works.

Travelling and friendship are the foundation narrative motives of N. Kazantzakis’ famous novel “Alexis Zorbas”. But they give strong impetus to H. Miller’s pen in his world-famous travelogue “The Colossus of Marоussi”, which became a symbol of philhellenism. The two classical literary works analyze the problems of (Greek, but not only) identity from both individual and socio-cultural point of view. In this article the 237concept of the remake is understood as a (re)making or a (re)creation of the Greek identity mostly in the context of universal moral categories, which unexpectedly gave the books “Alexis Zorbas” and “The Colossus of Maroussi” a long lasting popularity.

Released in 2016, Paolo Genovese’s well-received film “Perfect Strangers” has been remade 18 times by July 2019 and was included in the “Guiness Book of Records”. This comparative case study analyses the Italian film, its Spanish version, as well as the French remake and the Russian variation. The paper explores the intermedial content of the orig- inal film representing the smartphone as a dispositive generating framed narratives in the main plot. The forms of remaking as “transcultural ad- aptation”28 are related to different degrees of repetition, transformation and renewal. The premises for the film’s high “adaptative faculty”29 are therefore to be associated with the innovative intermedial structure and the potential of the plot devices to be reinvented and adapted to local reception areas.