Archive for 2018

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[ecrea] Remaking European Cinema: Symposium

Sat May 19 09:19:22 GMT 2018

Remaking European Cinema

A symposium on the theory and practice of the film remake in a European context

1 June 2018, Ghent University, Belgium

Registration via the conference website:

Full programme:

08:30 - 09:00

Registration & coffee

09:00 - 09:10

Welcome address

09:10 - 09:55

Keynote: Thomas Leitch (University of Delaware): Hollywoodizing, Americanizing, Europeanizing

09:55 - 10:15

Coffee break

10:15 - 11:50

Panel: Remaking European cinema: current trends

Chair: Iain R. Smith (King’s College London)

Eduard Cuelenaere, Stijn Joye & Gertjan Willems (Ghent University): Performing the national: towards a model of localization strategies in the Dutch-Flemish film remake

Boris Noordenbos & Irina Souch (University of Amsterdam): Nostalgic mediations of the Soviet past in Nikolai Lebedev’s remake of The Crew (2016)

Sara F. Hall (University of Illinois at Chicago): Babylon Berlin: Remaking Weimar cinema in the era of global streaming

Núria Araüna (Rovira i Virgili University): “We are the replicants” or Androids Dream: Blade Runner’s dystopia as a quasidocumentary portrayal of contemporary Spain

Miguel Fernández Labayen & Ana Martín Morán (Universidad Carlos III de Madrid & Rey Juan Carlos University): Manufacturing proximity: the case of local-language comedies’ remakes

11:50 – 12:20

Industry talk: Meg Thomson (Globalgate Entertainment): The Business of Remakes

12:20 - 13:30

Lunch @ Faculty Council Room/Facultaire Raadzaal

13:30 - 14:15

Keynote: Lucy Mazdon (University of Southampton): Rethinking the Remake: Assimilation or Foreignization?

14:20 - 16:00

Panel: Rethinking the remake

Chair: Thomas Leitch (University of Delaware)

Jennifer Forrest (Texas State University) Bringing up babies: The politics of pronatalism in La Maternelle

Mario Slugan (Ghent University): R. W. Fassbinder’s Berlin Alexanderplatz as a remake

Anke Brouwers (University of Antwerp): (Not) skipping a beat: De battre mon coeur s’est arrêté (2005) as cinematic ekphrasis

Peter Verstraten (Universiteit Leiden): European art-house remake: Sehnsucht in tandem with Le Bonheur

Constantine Verevis (Monash University): A Bigger Splash: Refashioning the Remake

16:00 - 16:20

Coffee break

16:20 - 17:40

Panel: Remaking national cinema

Chair: Lucy Mazdon (University of Southampton)

Kamalika Sanyal (KU Leuven): The colour remakes of Swedish classics in the 1950s: Production, promotion and critical reception in the context of a new technology

Stefanie Mathilde Frank (Humboldt University of Berlin): Goodbye Goebbels? Remakes of Nazi Films in the 1950s

Kathleen Loock (Freie Universität Berlin): Remaking Winnetou, reconfiguring German fantasies of American Indians and the Wild West

Balázs Varga (ELTE University Budapest): One step forward two steps back: Millennial remakes and the transformation of Hungarian popular cinema

17:45 - 18:30

Keynote: Iain R. Smith (King’s College London): Beyond the Hollywood meme: A meme’s eye view of film remakes in a European context

18:30 - 18:45

Closing remarks

18:45 - 21:00

Reception with walking dinner @ Faculty Council Room/Facultaire Raadzaal

The film remake, whether as a practice or a concept, has been around since the very beginnings of cinema. While the earliest studies of the remake provided general overviews trying to sketch patterns and localize differing practices, this was followed by substantial attempts to define the remake as both a textual and cultural artefact and as a commercial business. Building on adaptation theories, scholars eventually pinpointed the intertextual properties that are inherent to the (relationship between) a source film and its remake(s). These evolutions in the research field spurred the idea of the remake as a kind of prism, which can be used to examine a variety of aesthetic, cultural, economic and social questions. For quite some time, most studies in the field were confined to the Hollywood practice of remaking non-Hollywood films, or, vice versa, non-Hollywood film industries remaking Hollywood films.

More recently, attempts are being made to look beyond Hollywood, inquiring into other nations or regions that, for example, remake their own films or the films of neighbouring countries. Notwithstanding these promising evolutions, there is still a lack of sustained research analysing the specific context(s) of European cinema. As a continent, Europe is known for its fragmentation and diversity due to the multitude of different languages and cultures existing next to and through each other within a relatively small geographical area. Although attempts to pinpoint the characteristics of European cinema are always questionable given that ‘Europe’ is as much a social, contingent and dynamic construction as other geopolitical entities, various cultural, economic and political dynamics grant the concept of European cinema analytical value. Accordingly, the purpose of the symposium is to bring together scholars with expertise in the currently vibrant field of remake studies for a discussion of the dynamics and particularities of the film remake in a European context.

This symposium is organized by Gertjan Willems, Eduard Cuelenaere and Stijn Joye, Centre for Cinema and Media Studies (CIMS) at Ghent University. The symposium is funded by the FWO research project ‘Lost in Translation? A multi-methodological research project on same-language film remakes between Flanders and The Netherlands’ and sponsored by the Film Studies section of ECREA and the Popular Communication division of NeFCA.

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