'This exhilarating collection is guaranteed to make you think twice about the boundaries between adaptations and remakes, beginnings and endings, fiction and history, academics and fans, and especially reading and writing. Whether the contributors are discussing the endless generations of Sherlock Holmes or the land of Oz or the brave new world of fan videos and trailers, they're constantly removing the Do Not Disturb signs earlier theorists posted all over the textual landscape, and incidentally expanding our idea of what constitutes a text in wonderfully invigorating ways.'
- Thomas Leitch, Professor of English, University of Delaware, USA
'Disproving the assumption that adaptations and remakes are simply uninteresting commercial ploys, this excellent collection of international scholars amply demonstrates the creative power and cultural work of such serial forms as created by both industries and fans, impressively spanning media, historical eras, and modes of production.' - Jason Mittell, Middlebury College, USA
'Covering a wide range of examples, this is essential reading for anyone interested in film cultures and fan practices. Loock and Verevis have brought together a great mix of chapters. Contributors might be exploring recycling and remaking, but there's nothing retro about their scholarship. Quite simply, this book is a model of excellence.' -Matt Hills, University of Cardiff, UK
KATHLEEN LOOCK teaches in the American Studies Program at the University of Göttingen, Germany, and is administrator of the research unit 'Popular Seriality: Aesthetics and Practice.' She has co-edited the essay collection Of Body Snatchers and Cyberpunks: Student Essays on American Science Fiction Film (2011).
CONSTANTINE VEREVIS is Senior Lecturer in Film and Television Studies at Monash University, Melbourne, Australia. He is author of Film Remakes (2006), co-author of Australian Film Theory and Criticism Vol 1: Critical Positions (2012), and co-editor of Second Takes: Critical Approaches to the Film Sequel (2010), After Taste: Cultural Value and the Moving Image (2012), and Film Trilogies: New Critical Approaches (2012).