a re-make albeit with a very different set of messages and values. In this essay I have discussed the relationship between J. Lee Thompson's 1961 adaptation of "Cape Fear", and Martin Scorsese's 1991 remake.  I have looked at the possibility of an intertextual "chain" of adaptation, as argued by Sarah Cardwell, and found there to be strong evidence within the 1991 film, of Scorsese intertextually referencing not only Thompson's original, but also the work of Alfred Hitchcock, one of the great directors at the time of the original film's release. I have also investigated issues of the remake in regard to Scorsese's film, and although there is a strong argument for it to be considered as more of a modernised re-imagining of the original, the 1991 film falls into the category of a quintessential re-make, if there is such a thing.  The reason the film falls into this category is its knowing self awareness, displayed  in the volume of intertextual references that are present, in particular the presence of both stars of the original film; Gregory Peck and Robert Mitchum in the Scorsese version, this makes for creating an incredibly strong intertextual link between the two filmic presentations. Other links in the intertextual chain of adaptations, which strongly connect Scorsese's film to the original, are the inclusion of two of the most affecting sequences from the 1961 film, albeit in a greatly mutated form. These are; the scene in which Nancy/Danielle is confronted with Cady at school, and, of course