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The volume offers a new method of interpreting screen adaptations of Shakespearean drama, focusing on the significance of cinematic genres in the analysis of films adapted from literary sources. The book’s central argument is rooted in the recognition that film genres may provide the most important context informing a film’s production, critical and popular reception. The novelty of the volume is in its use of a genre-based interpretation as an organising principle for a systematic interpretation of Shakespeare film adaptations. The book also highlights Shakespearean elements in several lesser-known films, hoping to generate new critical attention towards them. The volume is organised into six chapters, discussing films that form broad generic groups. Part I comprises three genres from the classical Hollywood era (western, melodrama and gangster noir), while Part II deals with three contemporary blockbuster genres (teen film, undead horror and the biopic). The analyses underline elements that the films have inherited from Shakespeare, while emphasising how the adapting genre leaves a more important mark on the final product than the textual source. The volume’s interdisciplinary approach means that its findings are rooted in both Shakespeare and media studies, underlining the crucial role genres play in the production and reception of literature as well as in contemporary popular visual culture.

Shakespeare the teen idol
Kinga Földváry

In the introduction to Part II of the book, we have seen the significant impact of youth culture on filmmaking through the increased economic independence and purchasing power of teenagers, particularly since the 1990s. As a result, the teen film can be seen as the flagship genre of the new cinematic boom, and of particular interest for this volume, as a number of popular Shakespeare-based films discussed here have outperformed major Shakespeare adaptations at the box office, which in itself is a noteworthy achievement. 1 On the other hand, the critical

in Cowboy Hamlets and zombie Romeos
A renaissance of vampires and zombies
Kinga Földváry

, the remedy is, of course, true love). This rejection of medical or scientific explanations in favour of a romantic solution is not entirely alien to supernatural teen films, as many young adult romances overwrite their science-fiction or fantasy narratives for the sake of this archetypal ending, for instance in the romantic fantasy Upside Down (2012, dir. Juan Diego Solanas). As we could see, while Warm Bodies as a Shakespeare film may not merit in-depth textual analysis, it serves as a perfect example to illustrate the claim that instead of a fidelity

in Cowboy Hamlets and zombie Romeos

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

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Kinga Földváry

After the discussion of classical Hollywood genres and their appropriation of Shakespearean narratives, Part II of the volume investigates three genres that represent more recent colours on the cinematic palette. While the three genres included in these chapters – teen films, undead horror and biopics – are not regarded as classics of commercial cinema, it is undeniable that they also had antecedents either in the pre- or post-war decades of filmmaking. They have typically (re)gained popularity and thus significance in and around the 1990s, the great decade of

in Cowboy Hamlets and zombie Romeos
The transnational and transgeneric initiative of La Zanfoña Producciones
Josetxo Cerdán and Miguel Fernández Labayen

genres. This generic mixture can be found in most of La Zanfoña’s productions, where the principal characters are losers taken from the melodrama schemata, but the point of view is closer to comedy, with a treatment that swings freely across comedy and other generic codifications, such as suburban teen films or even romantic comedy. On the one hand, this rewriting process in El traje

in Contemporary Spanish cinema and genre
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Television, style and substance in The Time Tunnel
Jonathan Bignell

suburban milieu. ABC attracted a relatively young audience (Bedell Smith 1981 : 31–6), and the casting of The Time Tunnel seems calculated to appeal to them. One of the young scientist protagonists, Tony Newman, was played by the emerging pop star James Darren, star of the teen film Gidget (1959) and its sequels. The other, Doug Phillips, was played by the more experienced actor Robert Colbert, who appeared in the television western Maverick in 1961 and in other long-running series. As a genre, science fiction addressed the young adult audiences that were becoming

in Substance / style
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Socially critical movies
Chris Beasley and Heather Brook

of a war between the USA and Albania. The film was released shortly before the Clinton administration faced the Monica Lewinsky scandal, and in some ways presciently addressed the role of ‘news’ (and ‘fake news’) during election campaigns. Election (2000) employs a high-school setting but is something quite other than a typical ‘teen film’ (Karlyn, 2011: 140). Allegorising school and nation, Election satirises ‘both the US political system and mainstream America’s suspicion of excellence’ along with (gendered) political ambition (Karlyn, 2011: 140). The primary

in The cultural politics of contemporary Hollywood film
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Embodiment and adolescence in recent Spanish films
Sarah Wright

of the body of other ‘teenfilms, nor the exploring of the body’s orifices for masturbation in, for example, Cesc Gay’s Krámpack. In the final lines of the film we will learn that El Bola’s maltreatment by his father included cigarette burns, being spat on as well as being forced to take laxatives and to drink urine. This is a much more visceral lesson in the body’s limits and surfaces than the lesson on the body’s circulation and excretions that the class are engaged in upon his return to school after one beating (Fouz-Hernández, 2007). The wounded, beaten body

in The child in Spanish cinema
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Rupture and transmission
Julia Dobson

. Anne ( 1983 ), ‘Theories of Melodrama: A Feminist Perspective’, Women and Performance: A Journal of Feminist Theory , 1 ( 1 ) 40–8 . Kaveney , Roz ( 2006 ), Teen Dreams: Reading Teen Film and Television from ‘Heathers’to ‘Veronica Mars ’ London, I. B. Tauris. Lauretis , Teresa de ( 1988 ), ‘Aesthetic and Feminist Theory: Rethinking Women

in Negotiating the auteur