I am not, it seems, in the cinema. Not even in the video. This all comes at a complicated series of removes. At some point I could have said, "I am in the cinema," and left the ambiguity at play between the theater room and the film on the screen.
The metonymy works for theater and cinema, but not for video. Yet this is the position I am in, watching a film on video years after its commercial release. In fact, since I was only six in , I was never in the cinema of A bout de souffle; it has always come to me by means of a series of detours. But the metonymic ambiguity of being in the cinema allows for that, and a more general detour mechanism allows even for the current state of affairs whereby I am watching the American remake of A bout de souffle Breathless , before I take another look at the original.
The chronological wires are crossed: the first thing I watch is a remake. So it seems I am really not in the cinema. I am here uttering these things to you the reader, having been there, various versions of "there," writing them. Everything I utter has a complicated play of quotation marks about it, not just because this reading is something of a recital of what I have previously written, but because in a more irredeemable fashion everything I write refers back to a "there"—a film, an experience of watching it, over and over—it refers back to an act of detaching, operations of excision and grafting, functions of de- and recontextualization.
That which is a necessary fact of any reading, what we can call the "quotation" or "citation" effect, becomes even more explicitly the case once we come to talk about remakes. But perhaps I am in the cinema. Perhaps even in the film. Perhaps, even as I write this in front of a screen—a cinema screen, a TV-video screen, a word processor monitor screen, a page—and even as this gets repeated like some sort of screen in front of its submobile and visually stimulated, if not.
I say that because as viewer and reader myself I am automatically and inevitably involved in the grafting or de recontextualization process just referred to. But I by no means initiate such a process. The film was never an intact and coherent whole offered up for my consumption. It was always, one might say, in the process of writing itself. Quoting, one might say "always already. Remarking and remaking itself. Thus what is being commonly and communally referred to here as the remake, the possibility that exists for a film to be repeated in a different form, should rather be read as the necessary structure of iterability that exists for and within every film.
