| Popis: |
The following bachelor's thesis concerns the remake, in the context of its use in the history of cinema and in film theory. I discuss the various definitions and possible forms of the remake, which has existed since the inception of film. Each theoretical consideration of the remake brings about a different choice of perspective and method of examination. Thus, the main part of the thesis is comprised of an effort to acquire a new apparatus through which one can think of the remake as a variant interpretation of the original work. In this regard, I transpose approaches from literary theory to film discourse, mainly referencing the theoretical methods of Gérard Genette, Julia Kristeva, Seymour Chatman, Umberto Eco and the concepts of intertextuality and interpretation. The last chapter analyzes two specific films, positioning Takashi Miike's Visitor Q as a remake of Pier Paolo Pasolini's Teorema. The relationship between remake and original develops new readings of both works. A remake is, in fact, based on the filmmaker's unique reading of an original work. This reading marks the transition between the filmmaker's experience as a viewer of the original and their position as creator of the remake. |
