Retrospective Serialization: Remaking as an Operation of cinematic Self-Historicization

回顾性连载：作为电影自我历史化操作的翻拍

• 批准号: 240388348
• 负责人: Professor Dr. Frank Kelleter
• 金额: --
• 依托单位: Abteilung Kultur
• 依托单位国家: 德国
• 项目类别: Research Units
• 财政年份: 2013
• 资助国家: 德国
• 起止时间: 2012-12-31 至 无数据
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/240388348?language=en
• 关键词: Retrospective; Serialization; Remaking; Operation; cinematic

"Remaking" is one of Hollywood cinema's most efficient methods of telling a familiar story anew. While media with short-cycled rhythms of production and reception (newspapers, television, but also early film serials) encourage the ongoing serialization of narrative material, American feature films since the consolidation of the Hollywood studio system have been forced to employ slower and more laborious strategies of repetitive variation. Our project investigates remaking as an operation that, while being related to more explicit forms of narrative serialization in other media, generates specifically cinematic formats of continuation and organizes them in historically variable categories ("remake" in the more restricted sense of a filmic iteration, but also sequel, prequel, trilogy, franchise, etc.). Compared to periodic series, which produce popular culture in close interaction with committed audiences, these formats operate at a more abstract level of imagined collectivization: they structure generational and media-historic sequences (rather than rhythms of everyday life), they foster far-ranging forms of knowledge, e.g. cinephile cultures, rather than concentrated fan cultures, and they provide expansive continuity markers that can inspire large-scale practices of self-performance, e.g. at the level of national (rather than merely personal) identities. Against this backdrop, the subproject investigates a serial operation that can be observed particularly well in cinematic remaking formats: the retrospective serialization of initially unconnected "versions" of one and the same narrative. On the basis of influential case studies from the period of 1927 to 2013, the project asks for the most important fields of action (production, reception, aesthetic practice): (1) which formats of cinematic variation have been created by remaking, (2) how remaking always expands a story's possibilities of variation while integrating what has already been told and limiting its scope of action, and (3) how, in doing so, remaking contributes to cinematic and pop-cultural modes of self-historicization that might be described as second-order serial narratives. Within the Research Unit, the subproject deepens the conceptual analysis of serial narration's recursive dynamics, building directly on the work done during the group's first research phase in TP4 (on the proliferation of genres and roles) and TP5 (on serial oneupmanship). Moreover, the project follows up on the results of TP3 concerning the relationship of seriality and mediality, implementing them in a systematic fashion for American feature films. Thus, the subproject takes as its focal point a central phenomenon of popular culture, the serial dimension of which has so far been neglected. Overall, this project advances to the outer rim of the Research Unit's field of study, into areas of popular culture where practices of seriality are constantly strained and challenged by changing medial, narrative, and cultural requirements or conditions (e.g. discourses of the oeuvre within popular culture, renegotiations of episodic and ongoing narration in slowmoving formats, cinematic practices of legitimation).

“翻拍”是好莱坞电影重新讲述熟悉故事的最有效方法之一。虽然生产和接收的短周期节奏的媒体（报纸，电视，还有早期的电影系列）鼓励叙事材料的持续序列化，但自好莱坞制片厂系统巩固以来，美国故事片被迫采用更慢，更费力的重复变化策略。我们的项目调查翻拍作为一种操作，虽然与其他媒体中更明确的叙事序列化形式有关，但产生特定的电影延续格式，并将其组织在历史上可变的类别中（“翻拍”在更严格的电影迭代意义上，但也包括续集，前传，三部曲，特许经营等）。与定期系列相比，定期系列在与忠实观众的密切互动中产生流行文化，这些格式在更抽象的想象集体化水平上运作：他们构建了世代和媒体历史序列（而不是日常生活的节奏），它们促进了广泛的知识形式，例如电影文化，而不是集中的粉丝文化，它们提供了广泛的连续性标记，可以激发大规模的自我表现实践，例如在国家（而不仅仅是个人）身份的水平上。在这种背景下，该子项目研究了一种在电影翻拍形式中特别容易观察到的序列操作：同一个叙事的最初未连接的“版本”的回顾性序列化。根据1927年至2013年期间有影响力的案例研究，该项目要求最重要的行动领域（生产、接受、审美实践）：（1）翻拍创造了哪些形式的电影变异，（2）翻拍如何总是扩大故事的变异可能性，同时整合已经讲述的内容并限制其行动范围，以及（3）在这样做的过程中，翻拍如何有助于电影和流行文化模式的自我历史化，这可能被描述为二阶序列叙事。在研究单元内，该子项目深化了对系列叙事递归动力学的概念分析，直接建立在该小组第一个研究阶段TP4（体裁和角色的扩散）和TP5（系列独占鳌头）的工作基础上。此外，该项目跟进了TP3关于连续性和媒介性关系的结果，并以系统的方式将其应用于美国故事片。因此，该分项目将大众文化的一个核心现象作为其重点，而其系列层面迄今为止一直被忽视。总的来说，这个项目的进展到研究单位的研究领域的外缘，进入流行文化的领域，在那里不断变化的媒体，叙事和文化要求或条件（例如，在流行文化中的全部作品的话语，情节和正在进行的叙事的重新谈判缓慢的格式，合法化的电影实践）的连续性的做法不断紧张和挑战。