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An infinite variety of appropriations in American TV drama

Serial Shakespeare explores the dissemination and reassemblage of Shakespeare’s plays in contemporary media culture, regarding the way this taps into but also transforms his preferred themes, concerns and constellations of characters. The appropriations discussed include isolated citations in Westworld and The Wire, a typology of the first female president modelled on figures of female sovereignty, as well as a discussion of what one might call a specifically Shakespearean dramaturgy in Deadwood and The Americans. By proposing a reciprocal exchange between the early modern plays and contemporary serial TV drama, the book focusses on the transhistoric and transmedial dialogue a revisitation of the Bard entails. The readings consider the Shakespeare text again, from a different perspective, but also address the fact that his text comes back to us again, from the past. The book claims that serial TV drama keeps appropriating Shakespeare to give voice to unfinished cultural business regarding the state of the American nation because both share the sense of writing in and for a period of interim. Given that the Bard continues to write and read America, what the book draws into focus is how both scriptwriters and cultural critics can, by repurposing him, come up with narratives that are appropriate to our times.

Monarchy and media power
Laura Clancy

media culture. 164 The shift from analogue to digital media poses new challenges, but also new affordances, for the Firm. This section describes, briefly, some of these changes. Prince William and Kate Middleton's 2011 wedding was the first large-scale royal event staged in the digital age. The Foreign and Commonwealth Office (keen to present William as the future Head of the Commonwealth) devised a communication plan for the wedding, specifically requesting ‘please use social media’ but including

in Running the Family Firm
Creative freelancers and pandemic resilience in South Yorkshire
Sarah M. Price
Stephanie E. Pitts
, and
Renee Timmers

, Media, Culture and Sport (DCMS) which emphasise the economic and social contribution of arts and culture, with a strong focus on the entrepreneurial nature of arts careers and the business acumen of cultural freelancers. Cultural organisations must do more to support the freelancers they hire, through efforts to create longer term employment opportunities, commitments to

in Adaptation and resilience in the performing arts
Media, memory and gender
Joanne Garde-Hansen

collaboration. This history is accessible online, maintained by a local organisation, and must be sought out; it is not widely known by the canal’s many users, and one would be forgiven for thinking that contemporary social media campaigns to clean up rivers and canals are a new phenomenon when such histories are not widely shared in a digital media culture. The new and expanded role of social media in documenting water events, environmental disasters, shaming water misusers, and celebrating clean and accessible

in Living with water
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Appropriation, dislocation, and crossmapping
Elisabeth Bronfen

in the digital media landscape, as Stephen O’Neill suggests, every text is readily up for grabs, the reiteration of parts and fragments from his plays is fluid, unpredictable, and spatially as well as temporally unbounded. 33 If, however, digital media culture makes Shakespeare’s texts limitlessly available, the temporality at issue involves more than a futurity still to come. The open-endedness of the translatability of Shakespeare into serial drama also points backwards in time. Part and parcel of the paradoxical presence of the historical text in its

in Serial Shakespeare