This is the first book to provide a comprehensive and systematic account of the phenomenon of cinematic remaking. Drawing upon recent theories of genre and intertextuality, Film Remakes describes remaking as both an elastic concept and a complex situation, one enabled and limited by the interrelated roles and practices of industry, critics and audiences. This approach to remaking is developed across three broad sections: the first, remaking as industrial category , deals with issues of production, including commerce and authors; the second, remaking as textual category , considers genre, plots and structures; and the third, remaking as critical category , investigates issues of reception, including audiences and institutions. The film remake emerges as a particular case of repetition, a function of cinematic and discursive fields that is maintained by historically specific practices, such as copyright law and authorship, canon formation and media literacy, film criticism and re-viewing. These points are made through the lively discussion of numerous historical and contemporary examples, including the remaking of classics ( Double Indemnity , All That Heaven Allows , Psycho ), foreign art-films ( Yojimbo , Solaris , Le Samouraï ), cult movies ( Gun Crazy , Planet of the Apes , Dawn of the Dead ), and television properties ( Batman , The Addams Family , Charlie’s Angels ).