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Essay / Research Paper Abstract
A 10 page research paper that contrasts and compares two films: Imitation of Life (1934), directed by John M. Stahl and produced by Carl Laemmle for Universal and its 1959 remake, directed by Douglas Sirk and produced by Ross Hunter, also for Universal. These two films show that a remake can be similar to an original film, and yet still possess character and meaning that are distinctly its own, even when dealing with similar symbolism, plot and characterization. The paper also discusses how Far from Heaven (2002) pays homage to the 1959 version directed by Sirk. Bibliography lists 6 sources.
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10 pages (~225 words per page)
File: D0_khim3459.rtf
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Unformatted sample text from the term paper:
of cinematography, the camera angles, lighting, movement and framing of a scene. Therefore, filmmakers may remake a classic film, but, in so doing, they never present precisely the same film,
as there are often differences in style, symbolism, characterization and meaning. Two films exemplify this observation: Imitation of Life (1934), directed by John M. Stahl and produced by Carl Laemmle
for Universal and its 1959 remake, directed by Douglas Sirk and produced by Ross Hunter, also for Universal. These two films show that a remake can be similar to an
original film, and yet still possess character and meaning that are distinctly its own, even when dealing with similar symbolism, plot and characterization. The 1934 version is a arguably
more true to Fannie Hursts novel, on which both films are based. The first image of this film is of a childs toy duck, as Bea Pullman (Claudette Colbert) is
engaged in a bathing and dressing her three-year-old daughter Jessie, while also trying to cook breakfast and handle business calls. Since Bea has been recently widowed, she must continue her
husbands business, which was selling maple syrup to local businesses, in order to support herself and her child. While Bea is trying to cope with three tasks simultaneously, the doorbell
rings. At the door is Delilah Johnson (Louise Beavers), an African American woman who has come to apply for a job as cook and housekeeper. Bea points out that she
has the wrong address and directs her but Delilah, sensing Beas need, convinces Bea that she needs household help. Delilah only asks for room and board for herself and her
four-year-old daughter Peola. While Delilah is dark-skinned, Peolas skin is light, sufficiently light to pass for white. All of these points are made visually within the first few minutes
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