Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-wzw2p Total loading time: 0 Render date: 2024-06-04T00:15:55.152Z Has data issue: false hasContentIssue false

Part II - Extending Genre

Published online by Cambridge University Press:  10 October 2023

Victoria Bladen
Affiliation:
University of Queensland
Sarah Hatchuel
Affiliation:
University Paul-Valéry Montpellier
Nathalie Vienne-Guerrin
Affiliation:
University Paul-Valéry Montpellier
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Alther, L. Blood Feud – The Hatfields & the McCoys: The Epic Story of Murder & Vengeance (Lanham: Lyons Press, 2012).Google Scholar
Földváry, K., Cowboy Hamlets and Zombie Romeos: Shakespeare in Genre Film (Manchester: Manchester University Press, 2020).CrossRefGoogle Scholar
Keyishian, H., ‘Shakespeare and movie genre: the case of Hamlet’, in Jackson, R. (ed.), The Cambridge Companion to Shakespeare on Film, 2nd edition (Cambridge: Cambridge University Press, 2007), 7284.Google Scholar
La Roche, E. M. ‘Indian Romeo and Juliet’, The Motion Picture Story Magazine (January 1912): 4151.Google Scholar
Linville, S. E., ‘The “Squaw Man” Western’, Senses of Cinema 11 (March 2014), www.sensesofcinema.com/2014/feature-articles/the-squaw-man-western.Google Scholar
Rollins, P. C. and Menig, H. W., ‘Regional literature and Will Rogers: film redeems a literary form’, Literature/Film Quarterly 3.1 (1975): 7082.Google Scholar
Waller, A. L., Feud: The Hatfields, McCoys and Social Change in Appalachia, 1860–1900 (Chapel Hill and London: The University of North Carolina Press, 1988).Google Scholar
White, R. S., Shakespeare’s Cinema of Love: A Study of Genre and Influence (Manchester: Manchester University Press, 2016).Google Scholar

Works Cited

Barton, A., The Shakespearean Forest (Cambridge: Cambridge University Press, 2017).Google Scholar
Bates, C., ‘Love and courtship’, in Leggatt, A. (ed.), The Cambridge Companion to Shakespearean Comedy (Cambridge: Cambridge University Press, 2006), 102–22.Google Scholar
Bladen, V., The Tree of Life and Arboreal Aesthetics in Early Modern Literature (New York: Routledge, 2022).Google Scholar
Chaudhuri, S., ‘Introduction’, in Chaudhuri, S. (ed.), A Midsummer Night’s Dream, The Arden Shakespeare, 3rd edition (London: Bloomsbury, 2017), 1105.Google Scholar
Davies, A., ‘Romeo and Juliet’, in Dobson, M. and Wells, S. (eds.), Sharpe, W. and Sullivan, E. (rev.), The Oxford Companion to Shakespeare, 2nd edition (Oxford; Oxford University Press, 2015), 334–9.Google Scholar
Dobson, M., ‘History of King Lear, The’, in Dobson, M. and Wells, S. (eds.), Sharpe, W. and Sullivan, E. (rev.), The Oxford Companion to Shakespeare, 2nd edition (Oxford: Oxford University Press, 2015), 166–7.CrossRefGoogle Scholar
Foakes, R. A., ‘Family Shakespeare’, in Dobson, M. and Wells, S. (eds.), Sharpe, W. and Sullivan, E. (rev.), The Oxford Companion to Shakespeare, 2nd edition (Oxford: Oxford University Press, 2015), 116.Google Scholar
Gay, P., The Cambridge Introduction to Shakespeare’s Comedies (Cambridge: Cambridge University Press, 2008).CrossRefGoogle Scholar
Jackson, R., Shakespeare and the English-Speaking Cinema (Oxford: Oxford University Press, 2014).Google Scholar
Rokison, A., Shakespeare for Young People: Productions, Versions and Adaptations (London: Bloomsbury, 2013).Google Scholar
Scott, E., ‘Agony and avoidance: Pixar, deniability and the adult spectator’, in Journal of Popular Film and Television, 42:3 (2014): 150–62.CrossRefGoogle Scholar
Smith, E., This is Shakespeare (London: Pelican Books, 2019).Google Scholar
Smith, S., ‘Toy stories through song: Pixar, Randy Newman and the sublimated film musical’, in Smith, S., Brown, N. and Summers, S. (eds.), Toy Story: How Pixar Reinvented the Animated Feature (London: Bloomsbury Academic, 2017), 105–26.CrossRefGoogle Scholar
Snyder, S., The Comic Matrix of Shakespeare’s Tragedies (Princeton: Princeton University Press, 1980).Google Scholar
Weis, R., ‘Introduction’, in Weis, R. (ed.), Romeo and Juliet, The Arden Shakespeare, 3rd edition (London: Bloomsbury, 2012), 1116.Google Scholar

Works Cited

Anderegg, M. A., Cinematic Shakespeare (Lanham: Rowman & Littlefield, 2004).Google Scholar
Brooker, P., ‘Postmodern adaptation: pastiche, intertextuality and re-functioning’, in Cartmell, D. and Whelehan, I. (eds.), Cambridge Companion to Literature on Screen (Cambridge: Cambridge University Press, 2007), 107–20.Google Scholar
Burnett, M. T., and Wray, R., ‘Introduction’, in Burnett, M. T. and Wray, R. (eds.), Screening Shakespeare in the Twenty-First Century (Edinburgh: Edinburgh University Press, 2006), 112.CrossRefGoogle Scholar
Cieślak, M., ‘From Romero to Romeo – Shakespeare’s star-crossed lovers meeting Zombedy in Jonathan Levine’s Warm Bodies’, Text Matters 11 (2021): 157–77.Google Scholar
Desmet, C., ‘Dramas of recognition: Pan’s Labyrinth and Warm Bodies as accidental Shakespeare’, in Desmet, C., Loper, N. and Casey, J. (eds.), Shakespeare/Not Shakespeare (Basingstoke: Palgrave Macmillan, 2017), 275–91.CrossRefGoogle Scholar
Desmet, C., Loper, N. and Casey, J. (eds.), Shakespeare/Not Shakespeare (Basingstoke: Palgrave Macmillan, 2017).CrossRefGoogle Scholar
Espinosa, R.Beyond The Tempest: language, legitimacy and La Frontera’, in Fazel, V. M. and Geddes, L. (eds.), The Shakespeare User: Critical and Creative Appropriations in a Networked Culture (Basingstoke: Palgrave Macmillan, 2017), 4161.Google Scholar
Fazel, V. M. and Geddes, L., ‘Introduction: the Shakespeare user’, in Fazel, V. M. and Geddes, L. (eds.), The Shakespeare User: Critical and Creative Appropriations in a Networked Culture (Basingstoke: Palgrave Macmillan, 2017), 122.CrossRefGoogle Scholar
Földváry, K., Cowboy Hamlets and Zombie Romeos: Shakespeare in Genre Film (Manchester: Manchester University Press, 2020).Google Scholar
Hatchuel, S.The Shakespearean films of the 90s: afterlives in transmedia in the 21st century’, Actes des Congrès de la Société Française Shakespeare 33 (2015): https://journals.openedition.org/shakespeare/2945.Google Scholar
Lanier, D., ‘Recent Shakespeare adaptation and the mutation of cultural capital’, in Zimmerman, S. and Sullivan, G. (eds.), Shakespeare Studies 38 (Madison, Teaneck: Fairleigh Dickinson University Press, 2010), 104–13.Google Scholar
Lanier, D., ‘Shakespeare rhizomatics: adaptation, ethics, value’, in Huang, A. and Rivlin, E. (eds.), Shakespeare and the Ethics of Appropriation (Houndmills: Palgrave Macmillan, 2014), 2140.Google Scholar
Lanier, D., ‘Shakespeare/Not Shakespeare: Afterword’, in Desmet, C., Loper, N. and Casey, J. (eds.), Shakespeare/Not Shakespeare (Basingstoke: Palgrave Macmillan, 2017), 293306.Google Scholar
Leitch, T., ‘Adaptation, the genre’, Adaptation 1:2 (2008): 106–20.CrossRefGoogle Scholar
Marion, I., Warm Bodies (New York, London: Emily Bestler Books/Atria Paperback, 2011).Google Scholar

Works Cited

Barlingay, S. S., ‘What did Bharata mean by Rasa?’, Indian Philosophical Quarterly 8.4 (1981): 433–56.Google Scholar
Battacharji, S., ‘Rudra’, Encyclopedia of Religion, Jones, L. (ed.), 2nd edition (New York: Macmillan Reference, 2005).Google Scholar
Croteau, M.Ancient aesthetics and current conflicts: Indian Rasa theory and Vishal Bhardwaj’s Haider (2014)’, in Smith, E. (ed.), Shakespeare Survey 72 (2019): 171–82.Google Scholar
Dwyer, R., Bollywood’s India: Hindi Cinema as a Guide to Contemporary India (London: Reaktion Books, 2014).Google Scholar
Dwyer, R. Filming the Gods: Religion and Indian Cinema (London: Routledge, 2006).CrossRefGoogle Scholar
Ganti, T., ‘“And Yet My Heart Is Still Indian”: The Bollywood film industry and the (H)Indianization of Hollywood’, in Codell, J. F. (ed.), Genre, Gender, Race and World Cinema: An Anthology (London: Blackwell, 2007), 439–57.Google Scholar
Gupt, B., Dramatic Concepts: Greek and Indian: A Study of the Poetics and the Natyasastra (New Delhi: D. K. Printworld, 1994).Google Scholar
Hogan, P. C., ‘Rasa theory and Dharma theory: from The Home and the World to Bandit Queen’, Quarterly Review of Film and Video 20.1 (2003): 3752.Google Scholar
Ibkar, A., ‘The Natyasastra and Indian cinema: a study of the Rasa theory as a cornerstone for Indian aesthetics’, International Journal of English Language and Translation Studies 3.1 (2015): 80–7.Google Scholar
Krämer, L., ‘Adaptation in Bollywood’, in Leitch, T. (ed.), The Oxford Handbook of Adaptation Studies (Oxford: Oxford University Press, 2017), 251–66.Google Scholar
Lanier, D. M., ‘Shakespearean rhizomatics: adaptation, ethics, value’, in Huang, A. and Rivlin, E. (eds.), Shakespeare and the Ethics of Appropriation (London: Palgrave Macmillan, 2014), 2140.Google Scholar
Mishra, V., Bollywood Cinema: Temples of Desire (London: Routledge, 2002).Google Scholar
Nayar, S. J., ‘Dreams, Dharma and “Mrs. Doubtfire”: exploring Hindi popular cinema via its “chutneyed” Western scripts’, Journal of Popular Film & Television 31.2 (2003): 7382.CrossRefGoogle Scholar
Panjwani, V., ‘Juliet in Ram-Leela: a passionate Sita’, Shakespeare Studies 46 (2018): 110–19.Google Scholar
Schwartz, S. L., Rasa: Performing the Divine in India (New York: Columbia University Press, 2004).Google Scholar
Shahani, G. and Charry, B., ‘The bard in Bollywood: the fraternal nation and Shakespearean adaptation in Hindi cinema’, in Dionne, C. and Kapadia, P. (eds.), Bollywood Shakespeares (London: Palgrave Macmillan, 2014), 161–77.Google Scholar
Trivedi, P., ‘Afterword: Shakespeare and Bollywood’, in Dionne, C. and Kapadia, P. (eds.), Bollywood Shakespeares (London: Palgrave Macmillan, 2014), 193–7.Google Scholar
Zankar, A., ‘Shakespeare, cinema and Indian poetics’, in Trivedi, P. and Chakravarti, P. (eds.), Shakespeare and Indian Cinemas: ‘Local Habitations’ (London: Routledge, 2018), 127–39.Google Scholar

Works Cited

Ashcroft, B., Griffiths, G. and Tiffin, H. (eds.), The Empire Writes Back: Theory and Practice in Post-Colonial Literatures, 2nd edition (London and New York: Routledge, 2002).Google Scholar
Bhaba, H. K., The Location of Culture (London and New York: Routledge, 1997).Google Scholar
Bhattacharji, S., ‘Sanskrit drama and the absence of tragedy’, Indian Literature 21 (1978): 617.Google Scholar
Burnett, M. T., Shakespeare and World Cinema (Cambridge: Cambridge University Press, 2013).Google Scholar
Chakravarti, P., ‘Ishaqzaade dir. by Habib Faisal and Issaq dir. by Manish Tiwary and Goliyon Ki Raasleela: Ram-Leela dir. by Sanjay Leela Bhansali (Review)’, Shakespeare Bulletin 33 (2015): 666–70.CrossRefGoogle Scholar
Chatterjee, K., ‘“Where art thou Muse that thou forget’st so long,/ To speak of that which gives thee all thy might?”: Qayamat Se Qayamat Tak (1988) – A neglected Shakespeare film’, in Trivedi, P. and Chakravarti, P. (eds.), Shakespeare and Indian Cinemas: ‘Local Habitations’ (London and New York: Routledge, 2018), 93110.Google Scholar
García-Periago, R. M., ‘In search of a happy ending: The afterlife of Romeo and Juliet on the Asian screen’, Atlantis. Journal of the Spanish Association for Anglo-American Studies (2016): 185200.Google Scholar
Gupta, T., ‘From proscenium to paddy fields: Utpal Dutt’s Shakespeare Jatra’, in Trivedi, P. and Ryuta, M. (eds.), Re-Playing Shakespeare in Asia (London and New York: Routledge, 2009), 157–80.Google Scholar
Gupta, T. Utpal Dutt’s Plays (Muse India Archives, 2005).Google Scholar
Lehmann, C., Screen Adaptations: Romeo and Juliet – A Close Study of the Relationship between Text and Film (London: Bloomsbury, 2010).CrossRefGoogle Scholar
Monaco, J., How to Read a Film, Movies, Media and Beyond: Art, Technology, Language, History, Theory, 4th edition (Oxford: Oxford University Press, 2009).Google Scholar
Parthasarathy, S., ‘The Bard meets Bollywood: how India’s films use Shakespeare to tackle controversy’, Index on Censorship 45 (2016): 1821.Google Scholar
Pulugurtha, N., ‘Romeo and Juliet meets rural India: Sairat and the representation of women’, in Buckley, T., Burnett, M. T., Datta, S. and García-Periago, R. (eds.), Women and Indian Shakespeares (London and New York: Bloomsbury Academic, 2022), 149–66.Google Scholar
Saunders, V., ‘Some literary aspects of the absence of tragedy in the classical Sanskrit drama’, Journal of the American Oriental Society 41 (1921): 152–6.Google Scholar
Thakur, V. S., ‘Parsi Shakespeare: The precursor to “Bollywood Shakespeare”’, in Dionne, C. and Kapadia, P. (eds.), Bollywood Shakespeares (New York: Palgrave Macmillan, 2014).Google Scholar
Trivedi, P., ‘Shakespearean tragedy in India’, in Neill, M. and Schalkwyk, D. (eds.), The Oxford Handbook of Shakespearean Tragedy (Oxford: Oxford University Press, 2016), 881–95.Google Scholar
Verma, R., ‘Shakespeare in Indian cinema: appropriation, assimilation and engagement’, The Shakespearean International Yearbook (2012), 8396.Google Scholar
Wallace, J., The Cambridge Introduction to Tragedy (Cambridge: Cambridge University Press, 2007).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×