Aesthetic functions of the remake: from technical reception to renovation of artistic merit

In the field of scientific research, today there is no unity in assessing the aesthetic value of the remake. Some state its negative impact on the state of art, linking it with the commercial pathos of consumption, while others, accepting the inevitability of the deconstruction of texts and meanings in modern culture, state its existence, others, in an attempt to avoid controversy with traditional aesthetics, introduce new concepts that are opposed to the concept of “remake” in particular, such as “reinterpretation”, “reconceptualization”. It is widely believed that a remake is just a repetition of the original and therefore cannot claim a self-sufficient ontological status of a work of art, and therefore is not an art object. Nevertheless, in practice, there are precedents when remakes exceed their “originals” in artistic qualities, and in the field of aesthetic research, a remake is recognized as characteristic of postmodern thinking. In this article the esthetic essence of these processes and the artistic touches caused by them comes to light, it is noted that the remake, having passed a thorny road of charges of involvement, commercialization, a kitsch, etc., became the universal phenomenon of the digital environment as his essence has coincided with the fundamental principle of an era - updating. Perhaps, it also became a decisive factor of transformation and evolution of the remake from a pastiche and a platform to the horizons of “high art”. Together with the sound industry - and video recorders the remake has undergone evolution from technique to the creative principle and a method of art thinking.