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A renaissance of vampires and zombies
Kinga Földváry

As the introduction to Part II has already pointed out, there are many reasons why a new wave of undead films has come to populate cinemas since the 1990s. By the end of the second decade of the new millennium, the latest boom of zombie and vampire films has even reached the stage when self-ironic and parodic treatments are almost more common than serious and straightforward ones which use the undead as metaphors for direct social criticism, and this parodic intention is also characteristic of the Shakespeare-inspired works. The cross-pollination between

in Cowboy Hamlets and zombie Romeos

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.

Chris Salamone

fiction undercut by these allusions to theatricality is one that, in any case, rests upon dissemblance, for the revenants presented by Agrippa, like those conjured by Marlowe's Faustus, are diabolic counterfeits appearing in the ‘similitude’ of the deceased. Protestant explanations for ghostly visitations frequently rely on the figure of a deceptive diabolic spirit, and we certainly find Nashe steering readers towards that interpretation of the spectral (un)dead. During Terrors dissembling demonic spirits are said to present themselves ‘in the likenes of ones father

in Thomas Nashe and literary performance
Carol Chillington Rutter

’ (5.3.43–7). Mind-shattered, Lady Macbeth, like Isabella wakened from sleep, rises from bed, functions in the space of nightmare, walks in her sleep – and like Isabella, re-performs the past, talking to the unseen, the undead dead, shards of conversation cutting up her brain. The animal wail of anguish from Isabella – ‘O!’ – is lengthened by Lady Macbeth: ‘O, O, O!’ (5.1.43). The herbs that fail to

in Doing Kyd
John J. Joughin

defeat or is it fated to remain, for all its poignancy, unreconciled and unreconcilable? Can the inconsolable be consoled? When will the angel of history close his wings and rest? How are we to embrace the nameless undead? History from below, above and beyond . . . In some sense of course these remain the key political questions that have haunted the

in Shakespeare’s histories and counter-histories
J. M. Synge’s Playboy
Nicholas Taylor-Collins

appears to take heed of Rich’s advice from centuries earlier: she uncovers the truth of the ghost, the one whose power lies offstage. The ghost of Old Mahon is revealed as living, undead, non-mythological: it returns the onstage and offstage audiences to truth, to the demands of being and to the real. Christy’s authority is undermined and disabused and sovereignty in Playboy

in Shakespeare, memory, and modern Irish literature
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The echoes of Rome in Julius Caesar
Richard Wilson

ere the mightiest Julius fell’ into an entire apocalyptic seismology of ‘feared events, / As harbingers preceding still the fates, / And prologue to the omen coming on’ [ 1,1,106:6–16 ]. For there the undead ‘burst their cerements’ and the sepulchre gapes ‘ponderous and mighty jaws’ [ 1,4,31 ] in a landslide that ‘bodes some strange eruption’ [ 1,1,68 ] in meaning itself, after

in Free Will
Versions of the author in contemporary biopics
Kinga Földváry

The introduction to Part II of this volume has already established that, like the teenpic or the undead horror film, the biopic is not an entirely new phenomenon in cinema history, and yet at the end of the millennium it has made a spectacular return to public awareness. Shakespeare biopics provide an eminent example: while a few films with William Shakespeare as a character had already been made in the first half of the twentieth century, it is only since the 1990s that any biopic proper can be associated with his name. Earlier films which include images of

in Cowboy Hamlets and zombie Romeos
Abstract only
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
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Shakespeare meets genre film
Kinga Földváry

decades ago. This altered consciousness of what constitutes Shakespeare therefore needs examination. Before we dismiss contemporary popular culture’s knowledge of Shakespeare as minimal or even non-existent, it may be worthwhile to ponder on the implications of the altered cultural context in which short quotations, randomly poached snatches of text, fake quotations authenticated with an image and a name find a natural place. 17 This fragmented textual presence is one of the common features of the three genres examined in Part II of the volume, the teen film, undead

in Cowboy Hamlets and zombie Romeos