Books in the Reproducing Shakespeare series

Here, essays use the latest theories in postcolonialism, globalization, and post-nationalism to explore how world cinema and theater respond to Bollywood's representation of Shakespeare. In this collection, Shakespeare is both part of an elite Western tradition and a window into a vibrant post-national identity founded by a global consumer culture.

Its four case studies bring together The Tempest and the science fiction-Western Westworld, King Lear and the satirical dynastic drama of Succession, Hamlet and the legal thriller Black Earth Rising, as well as Coriolanus and the political thriller Homeland.

While The Shakespeare User contributes to the burgeoning corpus of critical works on digital and Internet Shakespeares, this volume looks beyond the study of Shakespeare artifacts to the system of use and users that constitute the Shakespeare network.

This essay collection addresses the paradox that something may at once "be" and "not be" Shakespeare. This phenomenon can be a matter of perception rather than authorial intention: audiences may detect Shakespeare where the author disclaims him or have difficulty finding him where he is named. Douglas Lanier's "Shakespearean rhizome," which co-opts Deleuze and Guattari's concept of artistic relations as rhizomes (a spreading, growing network that sprawls horizontally to defy hierarchies of origin and influence) is fundamental to this exploration. Essays discuss the fine line between "Shakespeare" and "not Shakespeare" through a number of critical lenses-networks and pastiches, memes and echoes, texts and paratexts, celebrities and afterlives, accidents and intertexts-and include a wide range of examples: canonical plays by Shakespeare, historical figures, celebrities, television performances and adaptations, comics, anime appropriations, science fiction novels, blockbuster films, gangster films, Shakesploitation and teen films, foreign language films, and non-Shakespearean classic films.

In the Shakespeare aftermath-where all things Shakespearean are available for reassembly and reenactment-experimental transactions with Shakespeare become consequential events in their own right, informed by technologies of performance and display that defy conventional staging and filmic practices.

This essay collection addresses the paradox that something may at once ¿be¿ and ¿not be¿ Shakespeare. This phenomenon can be a matter of perception rather than authorial intention: audiences may detect Shakespeare where the author disclaims him or have difficulty finding him where he is named. Douglas Lanier¿s ¿Shakespearean rhizome,¿ which co-opts Deleuze and Guattari¿s concept of artistic relations as rhizomes (a spreading, growing network that sprawls horizontally to defy hierarchies of origin and influence) is fundamental to this exploration. Essays discuss the fine line between ¿Shakespeare¿ and ¿not Shakespeare¿ through a number of critical lenses¿networks and pastiches, memes and echoes, texts and paratexts, celebrities and afterlives, accidents and intertexts¿and include a wide range of examples: canonical plays by Shakespeare, historical figures, celebrities, television performances and adaptations, comics, anime appropriations, science fiction novels, blockbuster films, gangster films, Shakesploitation and teen films, foreign language films, and non-Shakespearean classic films.

While The Shakespeare User contributes to the burgeoning corpus of critical works on digital and Internet Shakespeares, this volume looks beyond the study of Shakespeare artifacts to the system of use and users that constitute the Shakespeare network.

This book considers popular culture's confrontations with the history, thought, and major figures of the English Renaissance through an analysis of 'period films,' television productions, popular literature, and punk music.

Here, essays use the latest theories in postcolonialism, globalization, and post-nationalism to explore how world cinema and theater respond to Bollywood's representation of Shakespeare. In this collection, Shakespeare is both part of an elite Western tradition and a window into a vibrant post-national identity founded by a global consumer culture.

This collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present.

This book considers popular culture's confrontations with the history, thought, and major figures of the English Renaissance through an analysis of 'period films,' television productions, popular literature, and punk music.

This collection of new essays is the first to explore the rich afterlife of one of Shakespeare's most recognizable characters. With contributions from an international group of established and emerging scholars, The Afterlife of Ophelia moves beyond the confines of existing scholarship and forges new lines of inquiry beyond Shakespeare studies.

This study argues that Shakespeare can now be understood as part of public culture. Thanks to the emergence of mass education in the twentieth century, Albanese argues that Shakespeare has become a shared property, despite the depiction of his texts as 'elite' cultural objects in the film industry.

Shaul Bassi is AssociateProfessor of English and Postcolonial Literature at Ca'Foscari University ofVenice, Italy. His publications include Visionsof Venice in Shakespeare, with Laura Tosi, and Experiences of Freedom in Postcolonial Literatures and Cultures, with Annalisa Oboe.

Making an important new contribution to rapidly expanding fields of study surrounding the adaptation and appropriation of Shakespeare, Shakespeare and the Ethics of Appropriation is the first book to address the intersection of ethics, aesthetics, authority, and authenticity.

Spectral Shakespeares is an illuminating exploration of recent, experimental adaptations of Shakespeare on film, TV, and the web.

Shakespeare's Surrogates contends that adapting Renaissance drama played a key role in the development of modern drama's major aesthetic movements. Loftis posits that playwrights' reactions to Shakespeare and his contemporaries worked to create their public personas, inform their theoretical writings, and influence the development of new genres.

This collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present.