This article deals with the cinematic production of Hollywood, more specifically with the rhetoric around remakes of films. The author argues that the negative evaluation of the remake process is bound up with the wider question of production and reproduction in 20th century Western cultures. She uses tools of rewriting and translation theory, intertextuality and post-structuralist discourse to deconstruct the binary constructs surrounding remakes such as high/low culture, France/America and art/industrial practices. Mazdon finally emphasizes the great significance of the practice of remakes.