Film Trilogies: New Critical Approaches

Film Trilogies: New Critical Approaches

Language: English

Pages: 265

ISBN: B007H9H924

Format: PDF / Kindle (mobi) / ePub

Drawing on a wide range of examples, this book – the first devoted to the phenomenon of the film trilogy– provides a dynamic investigation of the ways in which the trilogy form engages key issues in contemporary discussions of film remaking, adaptation, sequelization and serialization.

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to try, try and try again to resolve emotional and phenomenological uncertainties around history, time, memory, and the moving image in the digital age.” Felleman’s interest in the oneiric quality of Kreider’s trilogy recalls not only the psychoanalysis of Freud but also the trans-textual relay of Gilles Deleuze’s dream-image (or onirosign) and its uptake in some of the best works on cinematic remaking, Lesley Stern’s The Scorsese Connection and Tom Conley’s Film Hieroglyphs. The connection is

realm of acknowledged credits or clear textual signifiers (Verevis, Film Remakes 2).2 The collective intention of the essays in this volume is not to draw these categories through as strict taxonomic fields for understanding the film trilogy, but rather to mobilize them as a way of acknowledging the broad styles of the trilogy, between which there is inevitable overlap. Industry The industrial category of the film trilogy offers the most visible example of the form, as well as the most volatile.

self-reflexivity across the two sets of films is fundamentally different. As the prototype for a slasher satire, Scream provides the “sourcework” for Scary Movie, which subsequently plays out as a parody of a parody (Magistrale 187). Against the imagination of Scream as a unified, threepart project, Scary Movie unfolds as an unvaried series of vignettes broken into installments. The logic of sequelization itself becomes an object of parody, insofar as the “rules” of progression (as articulated by

Time of the Wolf, and Caché (Hidden, 2005). It would not, however, take an outrageous sleight of hand to reshuffle the existing triads into, for instance, Benny’s Video/71 Fragments of a Chronology of Chance/Funny Games (Media trilogy) or The Seventh Continent/Benny’s Video/Funny Games (Family trilogy)8 or (for that matter) to expand the media-cum-family arrangement with the addition of Caché. Going in the opposite direction, the sanctioned trilogy may easily be downsized to a variety of dyadic

permanently shape and inform the narrative are thereby both materialized and symbolized, self-evident connotations that could potentially be ascribed to the cross motif in particular are never made explicit or contextualized. In hermeneutic or heuristic terms, a “stolen” glance (from the point of view of one of the bank clerks) of the security guard crossing himself hurriedly while speaking on the phone with an unidentified interlocutor is so isolated that its value, intrinsic as well as

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