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Published in:
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2021 | OriginalPaper | Chapter

1. Introduction

Author : William H. Mooney

Published in: Adaptation and the New Art Film

Publisher: Springer International Publishing

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Abstract

This book examines a subset of art films and filmmakers with an ambivalent relationship to the past and to the history of theatrical cinema. Historically, definitions of the art film depend on a basket of characteristics such as deviation from the mainstream through formal experimentation, provocative content, and “foreignness” with respect to local conditions and expectations and through insistence on authorship. The cinephile audiences of art cinema additionally assure viewer awareness of precursor texts, such that art-film auteurs are enabled to activate intertextual reference as part of the fundamental rhetoric of their films. This is especially true in the era of postmodernism, with an increased circulation of texts because of new technologies and changes in the media environment. Collectively these circumstances lead to a strain of the art film, sometimes elegiac in tone, that memorializes the past as it defines the present, with varying degrees of anxiety about the future.

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next chapter Rainer Werner Fassbinder and Douglas Sirk: Recreation of All That Heaven Allows as Angst essen Seele auf (1974)
Footnotes
1
See his 1984 book of that title.
 
2
Galt and Schoonover (Kindle), Introduction.
 
3
Bordwell, 1979, 649.
 
4
Ibid.
 
5
Neale, 15.
 
6
See also “Art Cinema Narration” in Bordwell, 1985, 205–228.
 
7
652.
 
8
Ibid.
 
9
1985, 209. He quotes Horst Ruthrof from The Reader’s Construction of Narrative (London: Routledge and Kegan Paul, 1981), 102.
 
10
654.
 
11
656.
 
12
13–14.
 
13
13.
 
14
Neal, 19.
 
15
Balio, “Introduction.”
 
16
In Vincent Canby’s words, viewers “persist in calling any film that is subtitled an ‘art’ film, no matter how commonplace the subject matter, theme, and treatment.” Balio, “The De Sica – Loren Collaborations.”
 
17
May 24, in Balio, “The French New Wave”; Godard was taken as emblematic of the “avant-garde,” described by Eugene Archer in the NY Times as “filling every requirement: … eccentric, irritating, rebellious, intellectual, original and totally personal” (February 5, 1961). Vivre sa vie (1962) inspired visceral anger and dismissal by all major critics but one, in Time magazine.
 
18
New York Times, May 2, 1999, quoted in Balio, Chapter 14, “Collapse.”
 
19
Balio, Chapter 4, “Market Dynamics.”
 
20
Ibid.
 
21
Balio, “Introduction.”
 
22
Balio, “Epilogue.”
 
23
Werner Rainer Fassbinder recalls Sirk quoting Darryl F. Zanuck. The Anarchy of the Imagination. Baltimore: Johns Hopkins University Press, 1992. 77.
 
24
Balio, Chapter 14, “Hollywood in Transition.”
 
25
10.
 
26
Hillier, Jim, ed. The American Independent Cinema: A Sight and Sound Reader. London: BFI, 2001. In Tzioumakis, 6.
 
27
Levy, Emanuel. Cinema of Outsiders: The Rise of the American Independent Film. New York: New York University Press, 1999. In Tzioumakis, 1.
 
28
King, 5–6.
 
29
King, 2. King here excludes the “quality” art film from his version of independent cinema, following Geoffrey Nowell-Smith who divides the art film into “quality” mainstream films and those that are avant-garde. Galt and Schoonover, “Introduction.”
 
30
King, 10.
 
31
King, 10. Clearly there are exceptions—where an author’s name is a powerful brand, he or she maintains influence over content even with large budgets.
 
32
Rawle, 6.
 
33
Rawle, xii.
 
34
Quoted in Rawle, 7.
 
35
That is, a “fetishistic multiculturalism [of] discourse in world cinema that does not mean the whole world but those areas outside Europe and North America.” Galt and Schoonover, “Introduction.”
 
36
Galt and Shoonover, “Introduction.”
 
37
Ibid.
 
38
120.
 
39
6.
 
40
Although Dudley Andrew famously labelled debates over fidelity “tiresome,” back in 1980, they remain common in reactions to new adaptations of well-known works.
 
41
What is Cinema, 142.
 
42
From Concepts in Film Theory, Oxford: Oxford University Press, 1984. Reprinted in Film Theory and Criticism, Braudy and Cohen, Oxford University Press, 2009, 373. Early writing on the remake made this same assumption, as in Michael Druxman’s Make it Again Sam, which required the remake to “borrow more than just an element or two from its predecessor.” Cited in Verevis, 5.
 
43
1.
 
44
9.
 
45
25.
 
46
Verevis, Film Remakes, 3.
 
47
Leitch’s interest is in the triangular relationship formed among books that are made into films which are then “remade.” The property rights align the initial commercial worth of this “original” with its cultural status. Understanding this triangular relationship allows us to see, in Leitch’s view, how textual authority is distributed among a literary source, a film adaptation, and a subsequent film version (the remake).
 
48
42.
 
49
48.
 
50
As Verevis and Iain Robert Smith write, “Given the Hollywood-centrism of film remake scholarship, and film studies more broadly, it is perhaps no surprise that the majority of publications dealing with transnational film remakes have focused on Hollywood remakes of films from other national contexts.” 3.
 
51
8. In this regard, see also the forthcoming European Film Remakes, Eduard Cuelenaere, Gertjan Willems, and Stijn Joye, eds. Edinburgh: Edinburgh University Press, 2021.
 
52
Film Remakes, 18.
 
53
Film Remakes, 26.
 
54
52.
 
55
51. Borrowed from Stephen Heath with reference to Nagisa Oshima’s The Realm of the Senses (1976) as a “direct and ruinous remake” of Max Ophüls’s Letter from and Unknown Woman (1948).
 
56
60.
 
57
58.
 
58
15–20.
 
59
29.
 
60
Julie Grossman’s term “quiet adaptation” comes to mind here, for “an elastextity that may not be tied to explicit intentions of the adapters.” 106.
 
61
63.
 
62
23.
 
63
52.
 
64
See, for example, Adrian Martin’s flat declaration: “in the early 1980s, a cinematic postmodernism was born.” 50.
 
65
Constable derives this distinction from a reading of Nietzsche, specifically Also sprach Zarathustra, 40–46.
 
66
Constable, 46–47.
 
67
53.
 
68
81.
 
69
Constable, 80.
 
70
Constable, 87.
 
71
1.
 
72
Tzioumakis, 259.
 
73
See John Belton in Screen 55:4. Belton emphasizes how the definition of “cinema” changes to keep up with an industry in constant evolution.
 
Literature
Andrew, Dudley. Concepts in Film Theory. Oxford: Oxford University Press, 1984.
Balio, Tino. The Foreign Film Renaissance on American Screens, 1946–1973. Madison: University of Wisconsin Press, 2010. (Kindle).
Bazin, André. What is Cinema, Volume I. Berkeley: University of California Press, 2005.
Bordwell, David. “The Art Cinema as a Mode of Film Practice.” Film Criticism, 4:1, Fall 1979. 56–64.
Constable, Catheine. Postmodernism and Film: Rethinking Hollywood’s Aesthetics. London: Wallflower Press, 2015.CrossRef
Carroll, Noël. “The Future of Allusion: Hollywood in the Seventies and Beyond.” October 04-1:20, 1982, 51–81.CrossRef
Forest, Jennifer and Leonard R. Koos, eds. Dead Ringers: The Remake in Theory and Practice. Albany: The State University of New York Press, 2002.
Galt, Rosalind and Karl Schoonover, eds. Global Art Cinema: New Theories and Histories. New York: Oxford University Press, 2010.
Grossman, Julie. Literature, Film, and Their Hideous Progeny: Adaptation and ElasTEXTity. New York: Palgrave Macmillan, 2015.
Horton, Andrew, and Stuart Y. McDougal. Play it Again, Sam: Retakes on Remakes. Berkeley: University of California Press, 1998.CrossRef
Hutcheon, Linda, with Siobhan O’Flynn. A Theory of Adaptation, Second edition. New York: Routledge, 2013.
Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.
King, Geoff. American Independent Cinema. Bloomington: Indiana University Press, 2005.CrossRef
Klein, Amanda Ann and R. Barton Palmer, eds. Cycles, Sequels, Spin-offs, Remakes and Reboots: Multiplicities in Film and Television. Austin: University of Texas Press, 2016.
Leitch, Thomas. “Twice-Told Tales: Disavowal and the Rhetoric of the Remake.” LFQ 18, 1991, 137–49. Revised version in Forrest, 37–62.
Leitch, Thomas. Adaptation and its Discontents: From Gone with the Wind to The Passion of the Christ. Baltimore: Johns Hopkins University Press, 2007.
Martin, Adrian. “Ruinous Sequels.” Reading Room, issue 03-09, 2009.
Martin, Marie. “Le remake secret: généalogie et perspectives d’une fiction théorique.” Revue d’études cinématographiques, 25: 2–3, Spring 2015.
Neale, Steve. “Art Cinema as Institution.” Screen 22:1, Spring, 11–39.
Rawle, Steven. Transnational Cinema: An Introduction. London: Palgrave, 2019.
Stam, Robert, and Alessandra Raengo. Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Hoboken, NJ: Blackwell Publishing, 2005.
Tzioumakis, Yannis. American Independent Cinema, Second edition. Edinburgh: Edinburgh University Press, 2017.
Verevis, Constantine. Film Remakes. Edinburgh: Edinburgh University Press, 2005.CrossRef
Verevis, Constantine and Iain Robert Smith. Transnational Film Remakes. Edinburgh: Edinburgh University Press, 2017.
Metadata
Title
Introduction
Author
William H. Mooney
Copyright Year
2021
Book
Adaptation and the New Art Film

Print ISBN: 978-3-030-62933-5

Electronic ISBN: 978-3-030-62934-2

Copyright Year: 2021

DOI
https://doi.org/10.1007/978-3-030-62934-2_1