This chapter considers Percy Shelley’s multifaceted depictions in modern popular culture as indicative of his ever-evolving reception in mainstream popular culture: he is simultaneously a rebel and an aesthete, a revolutionary and a fop, an ultra-canonical poet and a countercultural icon. Appearances of Shelley’s works – and depictions of the poet himself – in such popular media as television, film, comic books, graphic novels, contemporary fiction, pop music, and even international events like the Olympic closing ceremonies speak both to Shelley’s continued cultural relevance and to the variety of ways in which that relevance has evolved in the two centuries since his lifetime.

Cinema has a long tradition of exploiting the notion of the double. This is because of the cinematic resources that are available to convincingly portray, visually, a doppelgänger. Alfred Hitchcock was the master of this form. In several films including Shadow of a Doubt, Strangers on a Train, The Wrong Man, Vertigo, and Psycho, Hitchcock established himself as the master of horror and exploited several different manifestations of the double. Other films dealing with the double, including The Matrix, Solaris, and Avatar, are also discussed.

Chapter 7 is focused on videos and animations. These methods are particularly suitable to work with adolescents and are also cost effective. Participatory videography can be a powerful tool to amplify the voices of adolescents to enable significant change in their lives. Specific ethical considerations are included as video may expose adolescent identity.

“Eusynoptos” takes its title from the Aristotelian notion of εὐσύνοπτος: “easily taken in at a glance.” In the Politics, Aristotle maintains that the size of a city is strictly delimited by the number of citizens that can be visually comprehended at a glance. But what if a machine were to augment the sensory capacities of humans? Could a political entity then be expanded beyond its natural limits? Confronting these questions in his film theory, Walter Benjamin modernizes eusynoptos by showing how the movie camera records large masses of individuals in a manner impossible for the naked eye. Informed by Benjamin’s idiosyncratic Marxism, the coda examines the reception of Nazi propaganda films in the United States in order to develop a critical theory of collective spectatorship that promotes a rational politics, thereby pressing back on an irrationalist tradition in aesthetics leading from Schelling and Schopenhauer through Nietzsche to fascism.

The usual view of Kerouac’s Spontaneous Prose is that it is a matter of writing fast without reflection, and the story of Kerouac drafting On the Road in April 1951 by typing/composing the whole novel onto a roll of paper in a three-week marathon presumably legitimizes this view. However, this chapter argues that we should understand Spontaneous Prose as a reinvention of textuality rather than simply a matter of writing fast and without reflection, which in turn allows us to understand Kerouac’s responsiveness to modern media (film and analogue recording in particular) to the paradigm of conventional print textuality, bringing into view his development of what might be termed “post-print textuality” in even his seemingly more conventionally written novels. Ultimately, this chapter shows that Kerouac’s experiments with textuality rewrote the standards by which “good literature” in the postwar era was measured.

After the publication of Eduardo Gutiérrez’s Juan Moreira (1879), its successful theatricaladaptation, and the numerous narratives about rebellious gauchos that followed, the set ofpractices and discourses that create a sense of belonging around the figure of the gaucho hascome to be known under the umbrella term of criollismo. Although recent research has shownthat criollismo did not disappear in the early twentieth century but converted to other nonliterary media, no approach considers the relationship between criollismo and cinema in thelong term and on a global level. In doing just this, this chapter focuses on the crossingbetween criollismo and cinema by looking at the images of the nation that gaucho-themed filmsbring into play. It explores how a repertoire of themes, characters, arguments, and landscapesdisseminated by criollista literature was adapted to film, projected globally in Hollywood movies, and then reappropriated by the local culture. Finally, it argues that this feedbackbetween criollista literature and film was fruitful until the late 1970s, when – after reaching a high level of violence – the political uses of criollismo became less massive and more sporadic.

Rebecca Hall’s 2021 film adaptation of Nella Larsen’s famed Harlem Renaissance novel, Passing (1929), indexes the relevance of interracial passing today. We explore Hall’s film to explain the contemporary appeal of Larsen’s narrative. Larsen’s Passing licenses interpretive possibilities that transcend its immediate moment, even as it seeks to criticize specific historical realities of modern intersectional identity. Hall’s neo-passing narrative of 1920s Black femininity employs cinema to highlight the enduring immobility of the color line and the erotic and social risk of crossing it.

We assess Hall’s adaptation of the two-protagonist structure as it personalizes Larsen’s depiction of racial liminality; consider Hall’s use of cinematography to adapt Larsen’s rhetorical sleight of hand regarding US racial discourses; and discuss the homoerotics of passing in both works. We then contemplate Hall’s casting choices. The final section takes up the conclusion of the two works. Hall resolves some of Larsen’s famous ambiguity, but poignantly showcases the essential instability of the gendered, racialized body in US literature and culture across a century.

The chapter considers gesture studies in relation to corpus linguistic work. The focus is on the Multimedia Russian Corpus (MURCO), part of the Russian National Corpus. The chapter includes a brief biography of the creator of this corpus, Elena Grishina. The compilation of the corpus out of a set of Russian classic feature films and recorded lectures is described as well as the methods of annotating it in detail. The gesture coding is not limited to manual/hand gestures, but also includes head gestures and use of eye gaze. The chapter considers the findings from the corpus, and reported in Grishina’s posthumously published volume on Russian gestures from a linguistic point of view. The categories include pointing gestures, representational gestures, auxiliary (discourse-structuring) gestures, and several cross-cutting categories, including gestures in relation to pragmatics and to grammatical categories, like verbal aspect. Additional consideration is given to other video corpora in English (and other languages) which are being used for gesture research, namely the UCLA NewsScape library being managed by the Red Hen Lab and the Television Archive.

Understanding contemporary African American literature, this chapter argues, requires accounting for the rich, multifaceted dialogue between Black literary production and the visual arts. This chapter traces what Toni Morrison called the “alliances and alignments” between literature and the other arts by analyzing the aesthetics and themes of contemporary African American writing and examining the cross-arts influences that shaped it. The dialogue between African American literature and visual culture is part of a much longer tradition, and contemporary writers have built on many earlier precedents. But this chapter also unpacks how important historical changes, including developments in media technology and the rise of Black art institutions, have generated new and more numerous intersections between Black literary and artistic cultures since the 1970s. Focusing on three key spaces that provided material support and thematic inspiration for Black writers’ experiments with visual art – the home, museum, and university – this chapter examines how authors working in a range of literary genres, including novels, poetry, plays, screenplays, memoirs, and essays, engaged with a variety of visual arts, including painting, film, sculpture, and photography. The influences and aesthetics of visual culture, the chapter shows, powerfully infuse the work of many writers today.

Here I will be interested in points of resistance and incompatibility between Shakespeare and film genres, in particular the case of Romeo and Juliet and the Western. One might expect that Romeo and Juliet, Shakespeare’s most bankable play, would be an obvious candidate for adaptation into a Western, one of cinema’s most popular genres. In theory, it is certainly possible to bend the play and the genre in each other’s direction. In practice, however, Romeo and Juliet has seemed difficult to adapt as a Western. Why this is so tells us something about the limits of Shakespeare’s adaptability within film genres.

Of Shakespeare’s plays, none is so commonly adapted and appropriated in forms targeted towards youth audiences as Romeo and Juliet. This chapter considers three film adaptations of Romeo and Juliet through the lens of each film’s engagement with youth, and through their use of setting, props, performance and cinematography to affect, and thereby, emphasize the anguish of (and in) youth. It will be argued that each film’s means of affecting anguish requires a connection to youth as a privileged time of allowable indulgence. Anguish emerges as simultaneously pleasurable in its existential engagement, and painful in its tragic realism, and the effect is a privileging of anguish over the catharsis that conventionally concludes tragedy, leaving anguish and youth sustained indefinitely.

This chapter will explore Zeffirelli’s film in the context of the 1960s by briefly looking back at his stage production and then forward to the film’s seminal influence on significant stage and film productions in the 1980s, 1990s and new millennium. These will include Ron Daniels’s spirited 1980 production for the Royal Shakespeare Company, Baz Luhrmann’s 1996 film and Kenneth Branagh and Rob Ashford’s 2016 London staging with Richard Madden, Lily James and Derek Jacobi.