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A study in genre and influence
Author: R. S. White

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.

Representing the supernatural in film adaptations of A Midsummer Night’s Dream
Gayle Allan

Film adaptation seems to offer something Morley could barely imagine – a means of representing ‘creatures of the poet's fancy’ with the requisite ‘grace and delicacy’. From the outset, cinema promised to be the perfect medium for this rendering of the supernatural. Murray Leeder argues that, in the late 1890s, ‘trick’ filmmakers, such as George Méliès and George Albert Smith were keen to ‘show off the capacity of the medium for wonderful appearances and disappearances, animations and transformations’. 12 As Peter

in Shakespeare and the supernatural
Robert Ormsby

media ranging from advertising to popular music to fiction and comic books’ (Burt, ‘Shakespeare in Love’ 226). 1 But, despite the qualified prophecy that ‘it may soon be time to speak of the Shakespeare apocalypse’ (Burt, ‘Shakespeare in Love’ 227), the 2011 Coriolanus proves that the playwright’s name ‘is still one to conjure with’ in the cinema (Burnett and Wray

in Coriolanus
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Why adapt The Spanish Tragedy today?
Tod Davies

’. 3 See her memoirs, Peace Mom: A Mother’s Journey through Heartache to Activism , published in 2006. 4 Several scenes from a 2003 script reading of Thomas Kyd’s The Spanish Tragedy I adapted for the cinema are available on alexcoxfilms’s channel, youtube.com . They were impromptu

in Doing Kyd
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The Problem
Michael D. Friedman and Alan Dessen

professionals have pointed out, an age that takes for granted violence and brutality on television and in the cinema may finally be ready for this tragedy of blood. Still, the ‘Shakespeare in performance’ approach that is well suited to most of the canon has its limitations when the play in question is Titus Andronicus. Admittedly, since that landmark production in 1955, directors and actors have been finding meaning and power in this script. Nonetheless, to make the play ‘work’ for audiences today, those

in Titus Andronicus
Elizabeth and Essex on film
Lisa Hopkins

might perhaps recall Middleton’s Women Beware Women . Conversely, some aspects of the film seem to derive ultimately not from Anderson’s play but from Lytton Strachey’s 1928 dual biography of Elizabeth and Essex: as Barbara Hodgdon observes, ‘however much his play gave the film a high-culture gloss, most cinema-goers probably knew less about Anderson’s Theatre Guild production

in Essex
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Appropriation, dislocation, and crossmapping
Elisabeth Bronfen

England.’ 12 Yet, while this claim is as relevant for contemporary serialised TV drama as it has been for cinema since the early twentieth century, so, too, is the question which follows from their proposition: why does prestige TV need Shakespeare? Is it simply because, representing universal wisdom, he can so readily be accessed? Is it the timelessness of his preferred themes revolving, as they do, around love and death, desire and revenge, duplicity and violence, power and theatricality? Is it because his texts have proven to be fluid and malleable, and thus

in Serial Shakespeare
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Gwilym Jones

metaphor for loud volume. Here, as with meteorology (perhaps even more so) it is difficult for the twenty-first-century reader to imagine fully the differences between our experience and that of an Elizabethan. Late sixteenth-century England was a much quieter place, without traffic and aircraft noises or cinema or volume controls. Hence, the loudness of thunder is often mentioned (Prospero’s ‘dread rattling

in Shakespeare’s storms
Scotland’s screen destiny
Mark Thornton Burnett

1 Cairns Craig, ‘Constituting Scotland’, The Irish Review , 28, Winter (2001 ), p. 18. 2 Duncan Petrie, ‘The New Scottish Cinema’ in Mette Hjort and Scott Mackenzie eds, Cinema and Nation (London and New York: Routledge, 2000), pp. 160

in Shakespeare and Scotland
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The continuity of cultural value
Kate McLuskie and Kate Rumbold

Wesker’s The Kitchen with its cast of more than 30. 4 The same story could be told of the RSC 2011 children’s show Matilda , which turned Roald Dahl’s classic children’s novel into a new musical that ran successfully in the West End, the regular transmission of Globe Theatre productions to ‘Picture House’ cinemas nation wide and the

in Cultural value in twenty-first-century England