To listen to Internet movie sites, one would think that the greatest offense now being committed by the American film industry is the perceived proliferation of the “remake”; so heinous a cultural offense to the millions of films buffs floating in the ether, as a revisitation of previously filmed materials is looked at primarily as an attack against the filmgoer’s personal affections toward the original movie vehicles. Seldom is there a subject which generates so much passionate vitriolic discussion within the realm of the cinematic without compensatory lucid conclusions. To the nostalgic Populist, remakes are regarded as an endgame to Hollywood creative vacancy: a sign that an industry is bereft of ideas. This, of course, is nonsense and speaks more of the offended bringing little to the argumentative table than of an entire cultural entity being trapped in an expressive vacuum.
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