ON THE QUESTION OF A REMAKE IN CINEMA: TECHNICAL AND ARTISTIC PROPERTIES

Abstract

The article analyzes the prerequisites for the emergence of remakes in the period of cinema's formation, when the processes of copying and remaking were technically inherent in the stage of optical film technology. The first remakes appeared with the first film attempts of the Lumière brothers, directors and inventors of the apparatus for recording moving images, the cinematograph. Subsequently, the remake established itself as a genre that involved the reworking, film version, or adaptation of a literary work. The article analyzes the works of M. Druxman, T. Leitch, U. Eco, C. Verevis, and F. Jamieson in the field of remake, adaptation, and transmedia storytelling. When studying remakes, film theorists and film historians often identify the concept of “remake” with such concepts as “adaptation”, “adaptation”, “interpretation”, “reinterpretation”, etc. The article argues that remake is an ambiguous concept that combines genre and creative approach, an artistic strategy of processing, adaptation, and, more broadly, transformation of both literary sources and previous cinematic works.In the twenty-first century, with the introduction of digital technologies and the creation of a single convergent information environment in which a work of art can be distributed among independent platforms and develop its individual parts within a media franchise, remake becomes a universal process of transformation, a certain creative strategy of artists in retelling classic and popular stories.Remake as an effective way of returning, re-reading and adapting classical plots, images and stories remains a leading form of postmodern thinking in the artistic environment, developing, changing, actualizing and updating the classical heritage in the present.