The All-Lady, Feminist Extravaganza: Sex-Swaps, Sexual Scripts, and Progressive Politics in Remakes

Rosewarne, Lauren

doi:10.1007/978-3-030-15891-0_2

Lauren Rosewarne²

648 Accesses
1 Citations

Abstract

This chapter begins with a discussion of sex-swaps whereby titles previously made with male casts are remade and modernized with women. The reverse also sometimes transpires with films being remade with male casts. The politics of sex-swaps are examined and explanations for such updates are proposed, including to reflect the zeitgeist, to create a star vehicle, to grow an audience, and to insert politics. The notion of what feminism means in the context of filmmaking is examined and its manifestation in remaking is investigated through presentations including moderated misogyny, inserted misandry, positive portrayals of women, progressive gender roles, the female gaze, and the casting of feminist actresses. Also examined is the backlash against such films, and the production of postfeminist and anti-feminist remakes.

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Notes

1.
Bildhauer (2011) and Klein and Daphinoff (1997).
2.
It is difficult to unequivocally dub Hamlet (1921) as the first Shakespeare sex-swap on screen: Alexander Huang and Charles Ross note, “Around the time Asta Nielsen’s cross-dressed Hamlet (1921) was filmed, gender-bender silent film adaptations of The Merchant of Venice and Two Gentlemen of Verona were being made in Shanghai” (Huang and Ross 2009, 1).
3.
Klett (2009), Power (2016) and Walter (2016).
4.
Eberwein (1998, 30).
5.
Shapiro (2015, 262).
6.
Amanda Ann Klein and R. Barton Palmer observe: “The dialectic between ‘new’ and ‘old’ in film and media production answers the industry’s need for both regularity (the auditorium seats that must be filled and refilled in order for a studio to stay afloat…) and originality (viewers always desire the yet unseen…)” (Klein and Palmer 2016, 4).
7.
Discussing the sex-swap trend, Jessica Kiang argues, “Anything that increases the number of women in diverse, complex and interesting roles in Hollywood movies (that is, movies that will benefit from the marketing and distribution push that only a major studio can marshal) must surely be a good thing” (Kiang 2015).
8.
Knöppler (2017, 84).
9.
Arguably, the sex-swap can also be considered as related to postmodernism and the idea of gender being “something flexible rather than fixed, it is one more Truth that postmodernism can dismantle” (Fischer 1998, 206).
10.
In Kiang (2015). This example can be contrasted with It Happened One Christmas (1977), the sex-swap remake of It’s a Wonderful Life (1946). Lionel Chetwynd, who wrote the script for the remake, identified having to make many alterations to accommodate the sex-swap (Scheer 1980, 30).
11.
Performance scholar Brandi Wilkins Catanese defines blind casting as where actors are cast without regard to their race, ethnicity, gender, or physical capability (Catanese 2011, 12).
12.
In Wood (2006, 66).
13.
In McBride (2013, 97).
14.
“With a few notable exceptions (His Girl Friday [1940], Gentlemen Prefer Blondes [1953], Ball of Fire [1941], etc.), women in Hawks’s films are entirely marginal to the operative reality except as attractions or diversions to the heroes” (Penley et al. 2006, 102).
15.
Douchet (1996, 79).
16.
Rosewarne (2018, 77 n. 5). See also Guida (2000).
17.
Brown (2011, 51).
18.
Another US remake of Fawlty Towers (1975)—Payne (1999)—was made with a man (John Larroquette) at the helm.
19.
The island name and its spelling slightly alter between the two titles.
20.
Shmith (2002).
21.
Billson (2014).
22.
Singer (n.d.).
23.
Hellman (2017).
24.
Broderick (2017).
25.
Guzmán (2017).
26.
Simon (2017).
27.
Ebert (1994.
28.
Stricker (1996) and Warmbold (2000, 53).
29.
Dalton (2003).
30.
Murray (2000).
31.
Zeier (2005).
32.
del Mar Azcona (2010, 94).
33.
Bailey (2010).
34.
“Holly Holm, Miesha Tate to appear in upcoming film described as the ‘female version of Fight Club’” (2015).
35.
Rule (2017).
36.
Tartaglione (2015).
37.
“‘Whiskey Cavalier’ serves up spy games as Oscars chaser” (2019).
38.
Allon et al. (2001, 307).
39.
In Willistein (1994).
40.
“Gemma Arterton calls Byzantium ‘a female version of Interview With The Vampire’” (2013).
41.
Wardlow (2017).
42.
Mazdon (2000, 41–42).
43.
Brown (2015).
44.
Hess (2018).
45.
Braudy (2002, 115).
46.
Lofgren (2016, 285).
47.
Delamater (1998, 90–91).
48.
Keegan (2018).
49.
Johnson (2005).
50.
Erb (2009, 178).
51.
Chocano (2017).
52.
King Kong was revisited again in 2005. Media theorist Stan Jones discusses the 2005 remake, noting, “In 2005, the original love story is turned upside down, when Ann rescues Driscoll in New York by going with Kong” (Jones 2009, 190).
53.
Rosenberg (2016), de Leon (2018), Rose (2018), Bramesco (2018) and Byrd (n.d.).
54.
Director Paul Feig spoke of this burden as related to the production of Ghostbusters (2016): “I think it kind of hampered us a little bit because the movie became so much of a cause. I think for some of our audience, they were like, ‘What the fuck? We don’t wanna go to a cause. We just wanna watch a fuckin’ movie’” (in Evangelista 2017).
55.
Corliss (2005).
56.
Saner (2017).
57.
Oddi (2018).
58.
Morris (2016).
59.
In Elena Nicolaou’s article on Ocean’s 8 (2018), she notes, while these films “provide essential opportunities for big-budget ensemble movies starring women, they shouldn’t be the only big-budget ensemble movies starring women” (Nicolaou 2018).
60.
In Saner (2017).
61.
Cills (2018).
62.
Mel Brooks produced and starred in To Be or Not to Be (1983), a remake of the 1942 film. Steve Martin produced and starred in Roxanne (1987), another version of the oft-filmed Cyrano de Bergerac story. Pierce Brosnan produced and starred in The Thomas Crown Affair (1999), a remake of the 1968 film. Ryan Phillipe produced and starred in the television series Shooter (2016–), a series remake of the film Shooter (2007). Eugenio Derbez produced and starred in Overboard (2018), the remake of the 1987 film. Bradley Cooper produced and starred in A Star Is Born (2018), a title made several times previously.
63.
It’s worth noting that while Marlo Thomas created a sex-swap remake star vehicle for herself, she was determined not to do so with a political agenda. Cultural theorist Ronald Scheer notes that Thomas “did not want it to be a vehicle for feminist polemic. As a result, the remake gave no evidence that attitudes towards women’s roles had changed between 1946 and 1977” (Scheer 1980, 31–32).
64.
While this section focuses on “star vehicles” as related to on-screen talent, remakes can also serve in this capacity for female directors whereby remaking a film gives them an opportunity to showcase their talents through a risk-averse production, something that occurs in many examples. Nora Ephron, for example, wrote and directed the comedy Mixed Nuts (1994), the remake of French film Le père Noël est une ordure (Santa Claus is a Stinker) (1982). Ephron also directed the romcoms You’ve Got Mail (1998), a remake of The Shop Around the Corner (1940), and Bewitched (2005), an adaptation of the television series (1964–1972). Penelope Spheeris directed The Beverly Hillbillies (1993), the cinema adaptation of the television series (1962–1971). The romance Endless Love (2014)—the remake of the 1981 film—was directed and co-written by Shana Feste. Feste also directed the family-drama The Greatest (2009), the sex-swapped remake of Moonlight Mile (2002). The family-comedy The Parent Trap (1998)—the remake of the 1961 film—was directed and co-written by Nancy Meyers. The Christmas-drama The Preacher’s Wife (1996)—a remake of The Bishop’s Wife (1947)—was directed by Penny Marshall. The period-drama Little Women (1994)—another version of material filmed many times previously—was directed by Gillian Armstrong. The family-comedy Freaky Friday (1995)—the television remake of the 1976 film—was directed by Melanie Mayron. The drama A Thousand Acres (1997)—a contemporary version of Shakespeare’s King Lear (first filmed in 1910)—was directed by Jocelyn Moorhouse. The period-drama Mansfield Park (1999)—first filmed in 1983—was directed by Patricia Rozema. The comedy The Producers (2005)—the remake of the 1967 film—was directed by Susan Stroman. The comedy-drama The Women (2008)—the remake of the 1939 film—was written and directed by Diane English. The horror film Carrie (2013)—a remake of material previously filmed in 1976 and 2002—was directed by Kimberly Peirce. The made-for-television melodrama Beaches (2017)—the remake of the 1988 film—was directed by Allison Anders. The comedy Furlough (2018)—a sex-swapped remake of The Defiant Ones (1958)—was directed by Laurie Collyer. The crime-comedy Hot Pursuit (2015)—another sex-swapped remake of The Defiant Ones—was directed by Anne Fletcher. The 2011 Wuthering Heights film was directed and co-written by Andrea Arnold. The romance Ophelia (2018)—the feminist retelling of Shakespeare’s Hamlet—was directed by Claire McCarthy. The drama The Kindergarten Teacher (2018)—the remake of the Israeli film Haganenet (The Kindergarten Teacher) (2014)—was written and directed by Sara Colangelo. The thriller Miss Bala (2019)—the remake of the 2011 Mexican film—was directed by Catherine Hardwicke. The made-for-television horror movie Mother, May I Sleep with Danger? (2016)—the remake of the 1996 film—was directed by Melanie Aitkenhead. The romcom And Then Came Lola (2009)—a lesbian remake of the German film Lola rennt (Run Lola Run) (1998)—was written and directed by Ellen Seidler and Megan Siler. The romcom Who’s Afraid of Vagina Wolf (2013)—the lesbian retelling of Who’s Afraid of Virginia Woolf? (1966)—was directed by Anna Margarita Albelo.
65.
Lang (2018).
66.
Desta (2017).
67.
Kiang (2015).
68.
Mendelson (2016) and McClintock (2016).
69.
Cook (1991, 248).
70.
Cook (1991, 252).
71.
Rose (2018).
72.
McClintock (2018).
73.
Lang (2016).
74.
Director Paul Feig described—and lamented—the framing of Ghostbusters (2016) as a “chick flick”: “We still get called in the press as a ‘chick flick.’ We are always referred to as the all-female ‘Ghostbusters.’ It’s just an uphill battle and I can’t believe we are having to deal with it” (In Nordine 2016). Ocean’s 8 (2018) was similarly described this way in reviews (“Ocean’s 8 is a great film, let alone great chick flick” 2018; Kapur 2018).
75.
Berg (2000, 222).
76.
Mera (2008, 7).
77.
Forrest (2002, 170).
78.
Desta (2017).
79.
In Saner (2017).
80.
Feminist writer Roxane Gay certainly alluded to this in her dismissal of the all-women Lord of the Flies, claiming, “An all women remake of Lord of the Flies makes no sense because… the plot of that book wouldn’t happen with all women” (in Harmon 2017).
81.
Scheer (1980, 31).
82.
“Kirsten Dunst & Sofia Coppola Discuss ‘The Beguiled’” (2017).
83.
Kelleter (2012).
84.
Kelleter (2012, 31).
85.
Kelleter (2012, 31).
86.
In Salzberg (2013, 226).
87.
In Druxman (1975, 191).
88.
Nowlan and Wright Nowlan (1989, 93).
89.
Knöppler (2017, 131).
90.
Paproth (2014, 105).
91.
Seltzer (2011, 195).
92.
Gullion (2016).
93.
McCarthy (1994).
94.
Radloff (2017).
95.
Genzlinger argues, “The remake teases out a few story lines, especially one involving Baby’s mother, Marjorie, played by Debra Messing, who gets to complain a lot that she and her husband (Bruce Greenwood) never have sex anymore. It’s apparently an effort to turn Marjorie into something more than a cardboard housewife; this tale, like the original, takes place in 1963. Under other circumstances that might be commendable, but here it undercuts Ms. Breslin, who is already having enough trouble making Baby something other than bland. The appeal of the original Dirty Dancing for its many ardent female fans was that it was the story of Baby’s awakening, not Mom’s” (Genzlinger 2017).
96.
Judah (2014, 18).
97.
Mulvey (1985).
98.
In Barlow (2018).
99.
In “Why ScarJo was cast in The Jungle Book” (2015, 6).
100.
Craven (2017).
101.
Hutcheon and O’Flynn (2013, 29).
102.
Singh (2010).
103.
Stavreva (2018, 70).
104.
In Stavreva (2018, 69).
105.
Ebert (1981).
106.
Budowski (2018) and Reardon (2017).
107.
Budowski (2018) and Christian (2010).
108.
Budowski (2018).
109.
O’Connor (1977).
110.
Willistein (1994).
111.
Judah (2015, 81).
112.
Dove-Viebahn (2016), Klawans (2016a, b) and O’Hara (2016).
113.
Giardina (2017).
114.
Simon (2017).
115.
Dirks (n.d.).
116.
Harper (2002).
117.
Hicks (1992).
118.
Jubera (1993).
119.
Anderson (2003).
120.
Kottler (2015, 67).
121.
Ressner (2001).
122.
Hutcheon and O’Flynn (2013, 152).
123.
“Revenge tastes sweet for Ashley” (2000).
124.
In “Mona Lisa Smile; Hit or hype?” (2004).
125.
Chan (2017, 99).
126.
Muir (2013).
127.
Mitchell (2013) and Coykendall (2000).
128.
MacNab (2015).
129.
Starkey (2006).
130.
Carlin (2017), Moran (2017b) and Chang (2017).
131.
Thomas (2017).
132.
Telfer (2018).
133.
Yamato (2018).
134.
Carney (2018).
135.
“Charmed reboot casts sisters trio” (2018).
136.
Brown (2016).
137.
“Whenever a non-white character is played by a white actor in a movie such as Ghost in the Shell [2017], critics call it ‘whitewashing.’ What should we call the recent trend of taking roles made famous by men and recasting them with women? Womanwashing?” (“‘Womanwashing’ entertainment trend continues” 2017).
138.
In Nordine (2016).
139.
In Ford (n.d.).
140.
In Raftery (2016).
141.
In Miller (2015).
142.
Bullock (2012).
143.
McDowell (1999, 16).
144.
Howell (2008, 147).
145.
Cross (2008, 156).
146.
Mitchell (2000).
147.
Ebert (2000).
148.
Maltin (2014).
149.
Kermode (2004).
150.
Brown (2012).
151.
Kermode (2004).
152.
White (2004).
153.
Shager (2004).
154.
Pitman (2005, 111).
155.
Hammerle (2011).
156.
In “Law defends ‘too charming’ Alfie” (2004).
157.
White (2004).
158.
In “Shaft shifts despite sexual shortcomings” (2000).
159.
Shail (2004, 72).
160.
“Kitchen tables turned in ‘Stepford Husbands’” (1996).
161.
Horst (1996).
162.
Helford (2015).
163.
Vint (2007, 161).
164.
Knöppler (2017, 202).
165.
Knöppler (2017, 202).
166.
Adney (2012, 115).
167.
Scott (2006).
168.
Scott (2006).
169.
Webster (2014).
170.
Holte (2018).
171.
Philpot (1998).
172.
Fallon (2015).
173.
Lipworth (2016).
174.
In Mandell (2016).
175.
In Mandell (2016).
176.
Frizzell (2019).
177.
Giles (2019).
178.
Thorpe (2010).
179.
Nollen (1999) and Hahn (2000).
180.
Other screen examples have attempted to update the Robin Hood story through more a progressive Marian. Maid Marian and Her Merry Men (1989–1994), for example, is a British comedy series offering “a revisionist (and feminist) account of the outlaws’ struggles, with Maid Marian as the brains of the outfit” (“Maid Marian and Her Merry Men” 2014).
181.
In Horton and McDougal (1998, 7).
182.
Ebert (1991) and Johnston (2001, 53).
183.
Tasker (1998, 82).
184.
Georgakas (1998, 77).
185.
Yellesetty (2010).
186.
Wente (2010).
187.
O’Sullivan (2010).
188.
Thorpe (2010).
189.
“Cate Blanchett & Feminism in Robin Hood” (n.d.).
190.
Francis (2013, 124).
191.
In Bucksbaum (2019).
192.
Craven (2017, 178).
193.
In Fallon (2015).
194.
Hollinger (2006, 218).
195.
Hollinger (2006, 218).
196.
Martinez (2009, 91).
197.
Henry (2014), Heller-Nicholas (2010) and Read (2000).
198.
Tucker and Svetkey (2008).
199.
In Peter Feldman’s review of the revenge-themed Lila & Eve (2015), he similarly observes, “It’s similar to Charles Bronson’s Death Wish [1974] theme, but with a female twist” (Feldman 2015).
200.
Roeper (2018).
201.
Durham (1998) and Mazdon (2000).
202.
Mazdon (2000, 57).
203.
Mazdon (2000, 57).
204.
Mazdon (2000, 59).
205.
Televangelist, Pat Robertson, for example, criticized feminism claiming: “The feminist agenda is not about equal rights for women. It is about a socialist, anti-family political movement that encourages women to leave their husbands, kill their children, practice witchcraft, destroy capitalism and become lesbians” (in Schwartz 1992).
206.
Obvious examples from this period are those where single men are portrayed as primary caregivers, for example sitcoms Diff’rent Strokes (1978–1986), Punky Brewster (1984–1988), Full House (1987–1995), My Two Dads (1987–1990), and Blossom (1990–1995).
207.
Katovich and Kinkade (1993, 631).
208.
Made-for-television versions of Freaky Friday were also made in 1995 and 2018. In a Variety review of the 1995 film, Susan Shields notes that the film is “silly and delightful but also infused with a decidedly feminist voice and ‘90s sensibility” (Shields 1995). Neither concept however, is explained.
209.
Bullock (2012).
210.
Henderson (2016, 330).
211.
Kim (2006).
212.
Packer (2007, 97).
213.
In Keegan (2018).
214.
Framke (2018) and Garber (2018).
215.
Roberts (2013).
216.
Turnbull (2018).
217.
Sharp and Giuffre (2013, 25).
218.
Mulvey (1985).
219.
Gamman and Marshment (1994) and Dotterer and Bowers (1992).
220.
Mitchell (2013) and Coykendall (2000).
221.
MacKinnon (1990).
222.
Rizov (2014).
223.
Rhodes (2013).
224.
Gilbey (2017, 52).
225.
In her review of The Beguiled (1971), Karyn Kay argues “Don Siegel hates women – and fears them” (Kay 1975, 32).
226.
Edelstein (2017a, 106–108).
227.
Desta (2017).
228.
Ma (2018).
229.
Anderson (2018).
230.
Ferber (2018), Oh (2017), Leonard (2009) and Schaffer (1988).
231.
In Ferber (2018).
232.
In Quinn (2018).
233.
In Meza (2018).
234.
In Stanley (2017).
235.
In Mellor (2018).
236.
In “All you need to know about Picnic at Hanging Rock” (2018).
237.
In Moran (2017a).
238.
Hogg (2013, 127–128).
239.
Greenberg (1998, 117–118).
240.
Craven (2017).
241.
Wright (2017), Merritt (2017) and Brech (n.d.).
242.
Stein (2009) and Zaslow (2009).
243.
Craven (2017, 180).
244.
Corliss (2007).
245.
Corliss (2007).
246.
Stahl (2016), Johnson (2014), Hollinger (2012) and Kramer (2003).
247.
Beaumont-Thomas (2014) and Semigran (2014).
248.
In Blasberg (2017).
249.
In Khoo (2017).
250.
In Prakash (2017).
251.
Edelstein (2017b).
252.
Wardlow (2017).
253.
Leeds (2017).
254.
Millward et al. (2017, 185).
255.
Gaudiosi (2016).
256.
Moir (2016, 36).
257.
Rosewarne (2015).
258.
Watercutter (2018).
259.
Nicolaou (2018).
260.
Saner (2017).
261.
In Saner (2017).
262.
In Gaudiosi (2016).
263.
Brett (2016).
264.
Galuppo and Kilkenny (2018).
265.
Ovenden (2017).
266.
Kanayama (2016).
267.
In Saner (2017).
268.
Hess (2018).
269.
DiLeo (2017).
270.
Knöppler (2017, 84).
271.
Knöppler (2017, 84).
272.
Faludi (1992).
273.
Kawin (1987, 109).
274.
In Corliss (2005).
275.
Wildermuth (2007, 121).
276.
Kinzel (2015, 125–216).
277.
“Must see” (2011).
278.
Meisler (1994).
279.
McCormick (1994).
280.
Hoover and Howard (1995, 964).
281.
Humbert (2001, 14).
282.
Fletcher (1998, 85).
283.
In Harris (1993).
284.
Johnson (2005).
285.
Mazdon (2000, 116).
286.
Ford and Mitchell (2004, 46).
287.
Potts (1995).
288.
Cuthbert (1993).
289.
Canby (1991).
290.
Bechtel (2005, 27).
291.
Nicolaou (2018).
292.
Angelo (2011).
293.
Proposed, for example, was What About Barb? (2017) a sex-swap series based on the comedy What About Bob? (1991). The pilot was not picked up (Ausiello 2017).
294.
Garavelli (2017).
295.
Garavelli (2017). A similar point is made by Hazel Cills in Jezebel, who notes, “Frankly, all the gender-bending of movies originally starring men, while it may seem progressive on the surface, seems like a distraction from the more deep-rooted problems regarding sexism in the movie and TV industry” (Cills 2018).
296.
Kiang (2015).
297.
McDonald (2015).
298.
Nahman (2016).
299.
Ovenden (2017).
300.
Communications theorist Alex Bevan observes that “remakes are popularly dismissed as creative laziness and a postmodern death of new ideas” (Bevan 2013, 307). Cultural theorist Joyce Goggin similarly notes that “remakes and sequels remain a much-maligned category, invariably criticised as a form of lassitude on the part of directors and producers who opt out for a known commodity, banking on viewer familiarity with the ‘original’ to guarantee a presold product” (Goggin 2010, 105).
301.
Laffly (2016).
302.
Brett (2016).
303.
Packer (2007, 97).
304.
Hirsch (1999, 60).
305.
Vice (2004).
306.
Strauss (2005).
307.
“Feminism in Chick Flicks” (n.d.).
308.
Carlson (2018).
309.
Henderson (2016).
310.
Johnson (2013).
311.
Stasia (2014, 115–116).
312.
Projansky (2001, 120).
313.
Douglas and Michaels (2004, 203).
314.
Vice (2004).
315.
Henderson (2016, 326).
316.
Schweishelm (2012, 120).
317.
Schweishelm (2012, 107).
318.
Erb (2010, 86).
319.
Baker (2003).
320.
Another sex-swapped Sherlock Holmes transpires in the Canadian series The Adventures of Shirley Holmes (1996–2000), where Shirley (Meredith Henderson), the grand-niece of Sherlock Holmes, is the detective.
321.
Lizardi (2014, 40–41).
322.
Lizardi (2014, 41).
323.
Lizardi (2014, 41).
324.
Kristeva (1982), Clover (1992), Creed (1993), Berenstein (1996) and Pinedo (1997).
325.
Lizardi (2010, 114).
326.
Lizardi (2010, 117).
327.
McLean (2008).
328.
Haskell (1979).
329.
Heller-Nicholas (2010, 90).
330.
Adams (2014).
331.
Dargis (2011).
332.
Tookey (2009).
333.
Ebert (2010, 157).
334.
Tookey (2009).
335.
Berkman (1993).
336.
Nowlan and Wright Nowlan (1989, 14).
337.
“Violent remake of ‘62 ‘Cape Fear’” (1992).
338.
Ussher (1997, 133).
339.
Kolker (1998, 42).
340.
Lizardi (2010, 118).
341.
Lizardi (2010, 118).
342.
Lizardi (2010, 118–119).
343.
Lizardi (2010, 119).
344.
In White (1998, 109).
345.
Leitch (2003, 256).
346.
Kolker (1998, 42–43).
347.
Krieger (2017).
348.
Bramesco (2016).
349.
VanDerWerff (2015).
350.
Rosewarne (2018, 160).
351.
“The body politics” (2003).
352.
Massey (2007, 139).
353.
Massey (2007, 139).
354.
VanDerWerff (2015).
355.
Varndell (2014, 17).
356.
Nowlan and Wright Nowlan (1989, 93).
357.
Lavigne (2011, 62).
358.
Grindstaff (2002, 295).
359.
Grindstaff (2002, 295).
360.
Francis (2013, 127).
361.
Flint (2017).
362.
Marcovitch (2011, 179).
363.
Saporito (2016).
364.
Boseovski and Marcovitch (2011, 146).
365.
Griffin (2008, 157).
366.
Vincendeau (1993, 23).
367.
Goscilo (2014, 59).
368.
Hess (2018).
369.
Gwynne (2013) and Ford and Mitchell (2004).
370.
Gilligan (2011, 168).
371.
Ford and Mitchell (2004, 45).
372.
Ford and Mitchell (2004, 47).
373.
Stasia (2014, 125).
374.
Stasia (2014, 117).
375.
Radical feminist Sheila Jeffreys proposes a concept called the “sexual corvée” describing “the unpaid labour that women are required to perform to make themselves sexually exciting to men, both inside and outside the home” (Jeffreys 2012, 126).
376.
Hess (2018).
377.
Travers (2018).
378.
Phillips (2018).
379.
Scheer (1980).
380.
The fact, for example, that The Best Man, Diary of a Tired Black Man, and Not Easily Broken are each described as a sex-swapped riff of Waiting to Exhale is likely less an argument of these films being remakes and more so flagging the films’ shared black cast and focus on romantic relationships.
381.
Johnson (1999).
382.
Milam (2009).
383.
Phillips (2009).
384.
Patterson (2008).
385.
Janusonis (2009).
386.
Jemison (2010).
387.
Mutton (2012).
388.
Chase (2012).
389.
Chase (2014).
390.
Necessary (2018) and Wong (2018).
391.
Nashawaty (2011).
392.
Henderson (2016, 329).
393.
Henderson (2016, 330).

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Rosewarne, L. (2019). The All-Lady, Feminist Extravaganza: Sex-Swaps, Sexual Scripts, and Progressive Politics in Remakes. In: Sex and Sexuality in Modern Screen Remakes . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-15891-0_2

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