Shakespeare shaping modern movie genres
in Shakespeare’s cinema of love
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

The introduction surveys theories of genre as they pertain to drama and to movies. Shakespeare, it is argued, innovated hybrid dramatic kinds by incorporating different traditions, in this context most pertinently, comedy and romance. Film history has generated its own repertoire of genres but the hybrid model of Shakespeare is at the heart of the process, and gave an initial model of genre development which early movie-makers tacitly adopted – scenes from his plays were among the first cinematic experiments, and continued to shape cinema history. The nature of influence is equally important. Shakespeare was influenced by earlier writers, a process which is examined here, and his indirect cultural influence (distinguished from sources and direct adaptation), especially on movies, is analogous and is traced here.

Shakespeare’s cinema of love

A study in genre and influence


All Time Past Year Past 30 Days
Abstract Views 140 40 0
Full Text Views 64 19 0
PDF Downloads 11 3 1