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Towards an Integrative Methodological Approach of Film Remake Studies

This article argues that, after decades of pointing towards the importance of including production and reception research into the study of film remakes, we should actually start addressing production and reception methodologies and investigate why this is necessary for the sustainability and future development of the field. I argue that a lot can be learned from the insights coming from the existing methodologies that are being used in, that is, format studies, (critical) media industry studies, (audiovisual) translation studies, and more recently the study of cultural transduction. The first section of the article mainly deals with the importance of investigating the different cultural mediators that take part in the production lifecycle of the film remake. It is contended that the analysis of film remakes should start examining the different individuals or institutions that mediate or intervene between the production of cultural artefacts and the generation of consumer preferences. The second part of the article points towards the importance of investigating the reception, experience, and interpretation of film remakes. It is shown that crucial questions like ‘(why) do audiences prefer the domestic remake over the foreign film?’, ‘how do audiences experience, interpret, and explain differences and similarities between source films and remakes?’, but also ‘how do audiences define and assess film remakes?’ remain yet to be asked. The article concludes that if the field of remake studies wishes to break out of its disciplinary boundaries, adopting a multi-methodological approach will help to further brush off its dusty character of textual analysis.