Georges Méliès

This groundbreaking book is the first full-length study of British horror radio from the pioneering days of recording and broadcasting right through to the digital audio cultures of our own time. The book offers an historical, critical and theoretical exploration of horror radio and audio performance examining key areas such as writing, narrative, adaptation, performance practice and reception throughout the history of that most unjustly neglected of popular art forms: radio drama and “spoken word” auditory cultures. The volume draws on extensive archival research as well as insightful interviews with significant writers and actors. The book offers detailed analysis of major radio series such as Appointment with Fear, The Man in Black, The Price of Fear and Fear on Four as well as one-off horror plays, comedy-horror and experimental uses of binaural and digital technology in producing uncanny audio.

This entertaining and scholarly book takes as its theme the original argument that Shakespeare’s generic innovations in dramatizing love stories have found their way, through various cultural channels, into the films of Hollywood in the first half of the twentieth century and, more recently, Bollywood. It does not deal primarily with individual cinematic allusions to Shakespeare’s plays, nor ‘the Shakespeare film’ as a distinct, heritage genre, nor with ‘adaptation’ as a straightforward process, but rather the ways in which the film industry is implicitly indebted to the generic shapes of a number of Shakespearean forms based on comedy and romance dealing with love. Particular plays such as The Taming of the Shrew, A Midsummer Night’s Dream, Twelfth Night, As You Like It, and Romeo and Juliet all powerfully entered the genres of mainstream movies through their compelling emotional structures and underlying conceptualisations of love. Drawing on dozens of examples from films, both mainstream and less familiar, the book opens up rich, new ways of understanding the pervasive influence of Shakespeare on modern media and culture, and more generally on our conventions of romantic love. It is such connections that make Shakespeare a potent ‘brand’ and international influence in 2016, even 400 years after his death.

Andrew Spicer’s ground-breaking study provides an authoritative and comprehensive account of the career of this iconic star. He highlights the importance of Connery’s early career, especially his television work that included Shakespeare, before dissecting the ‘Bond phenomenon’, which propelled Connery to international stardom on an unprecedented scale for a British actor but erased his own identity as a commodified serial star. Connery’s twenty-year struggle to escape ‘Bondage’ is discussed at length: his attempts to play against that image in The Hill (1965) and The Offence (1973) and his gradual emergence as an epic, mythic presence in the mid-1970s in The Wind and the Lion, The Man Who Would Be King and Robin and Marian. The study analyses how Connery’s reinvention of himself as a father-mentor enabled him to enjoy a second period of superstardom from The Untouchables (1987) onwards and to ‘age successfully’. How this mythic persona modulated into an all-encompassing ‘screen legend’ is analysed cogently. Spicer also emphasises the significance of Connery’s complex embodiment of national identity, imbuing his screen characters with a working-class Scottishness and through his public role as an activist campaigning for Scottish independence. Throughout, Spicer emphasises the importance of situating stars within their mutable economic and cultural contexts as they struggle for creative control over their careers. Drawing on wide range of archival and other sources, this innovative study’s illumination of one of modern cinema’s greatest, longest-enduring and most distinctive stars will become essential reading for those interested in the phenomenon of stardom.