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The first collection of essays devoted to the phenomenon of the
film sequel.
This collection of essays examines the ways in which recent
Shakespeare films portray anxieties of an impending global
wasteland, technological alienation, spiritual destruction, and the
effects of globalization. Films covered include ""Titus"", William
Shakespeare's ""Romeo & Juliet"", Almereyda's ""Hamlet"",
""Revengers Tragedy"", ""Twelfth Night"", ""The Passion of the
Christ"", Radford's ""The Merchant of Venice"", ""The Lion King"",
and Godard's ""King Lear"", among others that directly adapt or
reference Shakespeare. Essays chart the apocalyptic mise-en-scenes,
disorienting imagery, and topsy-turvy plots of these films, using
apocalypse as a theoretical and thematic lens.
She thought her life was over, but it hadn't even started . . .
When Margot Delacroix dies at forty-two years old, she is sent back
to earth as a guardian angel - to herself. Renamed Ruth, she is
forced by divine mandate to re-experience and record her biggest
mistakes and fiercest regrets from the beginning of her life to her
untimely death. Forced from the moment of her birth to witness the
cogs of fate and the stuttering engine of free will, Ruth sets out
to change the course of her life, and, ultimately, to prevent her
premature death. When she realises that the reasons behind her
teenage son's descent into drugs and murder lay within her own
actions as Margot, she makes a pact with a demon - she will give up
her place in Heaven in exchange for the opportunity to save her son
from his fate. But the changes she makes result in consequences no
one could expect...
The film sequel has been much maligned in popular culture as a
vampirish corporative exercise in profit-making and narrative
regurgitation. Drawing upon a wide range of filmic examples from
early cinema to the twenty-first century, this exciting new volume
reveals the increasing popularity of, and experimentation with,
film sequels as a central dynamic of Hollywood cinema. Now creeping
into world cinemas and independent film festivals, the sequel is
persistently employed as a vehicle for cross-cultural dialogue and
as a structure by which memories and cultural narratives can be
circulated across geographical and historical locations. This book
aims to account for some of the major critical contexts within
which sequelisation operates by exploring sequel production beyond
box office figures. Its account ranges from sequels in recent
mainstream cinema, art-house and 'indie' sequels, non-Hollywood
sequels, the effects of the domestic market on sequelisation, and
the impact of the video game industry on Hollywood. The book:
*Situates the sequel within its industrial, cultural, theoretical
and global contexts.* Offers an essential resource for students and
critics interested in film and literary studies, adaptation,
critical theory and cultural studies. *Provides the first study of
film sequels in world cinemas and independent film-making.
Since the birth of Shakespearean cinema in 1899, there have been
close to 500 film adaptations of the Bard's work in which he has
been taken to outer space, downtown Mumbai, and feudal Japan.
Exploring this astonishing array from early cinema to the present,
"Shakespeare on Film: Such Things as Dreams are Made of" analyzes
Shakespearean cinema in four major contexts: performance,
adaptation, film style, and popularization, interpreting his unique
ability to penetrate cultures, mindsets, and languages across the
world. The volume reveals Shakespeare's continuing currency in
contemporary culture and critically examines the dialogues between
cultures, mediums, and historical periods.
I first met my demon the morning that Mum said Dad had gone. 'My
name is Alex. I'm ten years old. I like onions on toast and I can
balance on the back legs of my chair for fourteen minutes. I can
also see demons. My best friend is one. He likes Mozart, table
tennis and bread and butter pudding. My mum is sick. Ruen says he
can help her. Only Ruen wants me to do something really bad. He
wants me to kill someone.'
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