Transnational Television Remakes by Claire Perkins Constantine Verevis

Author:Claire Perkins, Constantine Verevis [Claire Perkins, Constantine Verevis]
Language: eng
Format: epub
ISBN: 9781138393172
Barnesnoble:
Publisher: Taylor & Francis
Published: 2019-01-03T00:00:00+00:00

Disclosure statement

No potential conflict of interest was reported by the author.

Notes

1. See Constantine Verevis on the textual category of film remaking (2006, 10f).

2. The collage is changed for the fourth season. Carrie’s ‘I should have known,’ Brody and Obama have gone; we have Hilary Clinton, John Kerry and the Afghan landscape instead.

3. See also discussion in Edgerton and Edgerton (2012).

4. As noted by Verevis, the reception of a series is by two kinds of audience, those who have seen the original and those who have not (2006, 46–47).

5. Bloggers responded to events both in the series and in the real world. For a discussion on bloggers see Dayan (2001).

6. See also Edgerton and Edgerton (2012).

7. Even-Zohar refers to expressions of otherness. I argue that this distinction is similarly applicable to textual representations, whether visual or vocal.

8. See Freud’s ‘dream work mechanism’ (2004) and also Christian Metz’s (1978) discussion of psychoanalysis and cinema.

9. Towards the end of the second season, we learn that both Amiel and his handler G’emal are in fact double agents.

10. This is information that emerges only at the end of the second series.

11. See for example, the cross editing in season 3, episode 2, between shots of Carrie as an inpatient in a mental hospital requiring medication and Brody imprisoned in Venezuela where he injects himself with the heroin.

12. Her breakdown and hospitalization are actually part of an operation run by Saul, under the radar of the CIA directorate, a fact the viewer only becomes party to at a later stage.

13. Unlike Steiner (2012), I find that monstrous ‘otherness’ is attached to Carrie as well as to some of the Moslem characters in the series.

14. On trauma in Israeli and Palestinian cinema see Gertz and George (2008) and Yosef (2011).

15. See also Silverman (1992).

16. See Ofrat (1988), Kerton-Bloom (1989), Weiss (1991) on Binding myth and Zanger (2011) on Binding myth in Israeli cinema.

17. One should note that the names of all three Israeli kidnap victims, Uri, Nimrod and Amiel are linguistically linked to the Binding myth (Akeda) in Israeli culture.

18. Each of the mothers seeks the help of a male psychologist who stresses the link between the father’s absence and their daughters’ behaviour.

19. On the historiography of Joan of Arc and her portrayal in cinema see Zanger (2006).

20. ‘Dire la meme chose autrement’ and ‘dire autre chose semblablement’ (Genette 1982, 13).

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