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This engaging and stimulating book argues that Shakespeare's plays significantly influenced movie genres in the twentieth century, particularly in films concerning love in the classic Hollywood period. Shakespeare's 'green world' has a close functional equivalent in 'tinseltown' and on 'the silver screen', as well as in hybrid genres in Bollywood cinema. Meanwhile, Romeo and Juliet continues to be an enduring source for romantic tragedy on screen. The nature of generic indebtedness has not gained recognition because it is elusive and not always easy to recognise. The book traces generic links between Shakespeare's comedies of love and screen genres such as romantic comedy, 'screwball' comedy and musicals, as well as clarifying the use of common conventions defining the genres, such as mistaken identity, 'errors', disguise and 'shrew-taming'. Speculative, challenging and entertaining, the book will appeal to those interested in Shakespeare, movies and the representation of love in narratives.

In the 1940s, folks at bars and restaurants would gather around a Panoram movie machine to watch three-minute films called Soundies, precursors to today's music videos. This history was all but forgotten until the digital era brought Soundies to phones and computer screens-including a YouTube clip starring a 102-year-old Harlem dancer watching her younger self perform in Soundies. In Soundies and the Changing Image of Black Americans on Screen: One Dime at a Time , Susan Delson takes a deeper look at these fascinating films by focusing on the role of Black performers in this little-known genre. She highlights the women performers, like Dorothy Dandridge, who helped shape Soundies, while offering an intimate look at icons of the age, such as Duke Ellington and Nat King Cole. Using previously unknown archival materials-including letters, corporate memos, and courtroom testimony-to trace the precarious path of Soundies, Delson presents an incisive pop-culture snapshot of race relations during and just after World War II. Perfect for readers interested in film, American history, the World War II era, and Black entertainment history, Soundies and the Changing Image of Black Americans on Screen and its companion video website (susandelson.com) bring the important contributions of these Black artists into the spotlight once again.

Winner of the Children's Literature Association Honor Book Award This volume establishes a dialogue between East and West in children's literature scholarship. In all cultures, children's literature shows a concern to depict identity and individual development, so that character and theme pivot on questions of agency and the circumstances that frame an individual's decisions and capacities to make choices and act upon them. Such issues of selfhood fall under the heading subjectivity. Attention to the representation of subjectivity in literature enables us to consider how values are formed and changed, how emotions are cultivated, and how maturation is experienced. Because subjectivities emerge in social contexts, they vary from place to place. This book brings together essays by scholars from several Asian countries - Japan, India, Pakistan, Korea, Vietnam, Taiwan, Australia, Thailand, and The Philippines - to address subjectivities in fiction and film within frameworks that include social change, multiculturalism, post-colonialism, globalization, and glocalization. Few scholars of western children's literature have a ready understanding of what subjectivity entails in children's literature and film from Asian countries, especially where Buddhist or Confucian thought remains influential. This volume will impact scholarship and pedagogy both within the countries represented and in countries with established traditions in teaching and research, offering a major contribution to the flow of ideas between different academic and educational cultures.

Films are the lingua franca of western culture; for decades they have provided viewers with a universal way of understanding the human experience. And film music, Kutter Callaway demonstrates, has such a profound effect on the human spirit that it demands theological reflection. By engaging scores from the last decade of popular cinema, Callaway reveals how a musically aware approach to film can yield novel insights into the presence and activity of God in contemporary culture. And, through conversations with these films and their filmmakers, viewers can gain a new understanding of how God may be speaking to modern society through film and its transcendent melodies.

A comprehensive and innovative analysis of Soviet literary and cinematic children's canon. Marking the centennial of Soviet cultural production for children, it reviews the rich and dramatic history of Soviet children's books, films, and animation and explores their importance for contemporary Russian audiences.

In 1893, Friedrich Engels branded history 'the cruelest goddess of all.' This sorrowful vision of the past is deeply rooted in the Western imagination, and history is thus presented as a joyless playground of inevitability rather than a droll world of possibilities. There are few places this is more evident than in historical cinema which tends to portray the past in a somber manner. Historical Comedy on Screen examines this tendency paying particular attention to the themes most difficult to laugh at and exploring the place where comical and historical storytelling intersect. The book emphasizes the many oft-overlooked comical renderings of history and asks what they have to tell us if we begin to take them seriously.

Emphasizing female characters and camaraderie, The Descent is an ideal springboard for discussing underexplored horror themes: the genre's engagement with the lure of the archaic; the idea of birth as the foundational human trauma and its implications for horror film criticism; and the use of provisional worldviews, or \"rubber realities,\" in horror.

Anthony Burgess's A Clockwork Orange is rarely considered in terms of psychopharmacology. Furthermore, the connection between the novel and the development of neuroscience-including the use of drugs that affect the brain-has yet to be considered. This essay explains the function and representation of drugs in the novel within the context of neuroscience's development during the 1960s. I argue that the novel engages the dynamics among psychopharmacology, neuroscience, and psychiatry, and investigates how these specialties function within Western culture to mediate between dominant and subordinate divisions. As such, a neuroscientific reading of A Clockwork Orange articulates how counterculture perverts psychopharmacology, driving it away from the normalizing discourses of psychiatric power (as it is used to correct deviant mental states). Simultaneously, it demonstrates the failures of the politics of a reactionary, fear-based neuroscience. Ultimately, the novel both reflects on and intervenes in a critical biopolitical shift in regulating the brain.

In A Clockwork Orange, Alex's musical taste is still seen both as aberrant and as an act of rebellion against his parents, but it is ironically high-culture classical music that spurs his violent tendencies (Gengaro 109). [...]music is still a dangerous instigator, but Kubrick asks his audience to associate this violence with music that embodies their own values as they are confronted by the contrast between pleasurable music and repulsive violence. [...]in the latter part of the mm where Alex is supposedly rehabilitated through a pedagogical exercise involving screen images and bodily effects, Kubrick comments both on the \"educational value\" of juvenile delinquency films and on their narrative strategies of \"containment of the offending subcultural behavior or style\" (Klein 102-03).