The imperatives of this article emanate from a desire to explore the way in which Tomas Alfredson’s Let the Right One In (Låt den rätte komma, 2008) was culturally and commercially transitioned through its American remake, Matt Reeves’s Let Me In (2010). Key questions concerning the framing of gender and sexuality form an integral facet of this investigation, evaluating the way in which gender as a malleable and amorphous concept, is omitted from its American counterpart, culturally and aesthetically suturing it for the American demographic. These debates give way . . .
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