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"More genres, 19 in fact, are discussed than in other standard works. The 14 genres considered here by film scholar contributors other than Gehring include the adventure film, the western, the gangster film, film noir, the WW II combat film, the horror film, science fiction, fantasy, the musical ...

"More genres, 19 in fact, are discussed than in other standard works. The 14 genres considered here by film scholar contributors other than Gehring include the adventure film, the western, the gangster film, film noir, the WW II combat film, the horror film, science fiction, fantasy, the musical, melodrama, the social problem film, the biographical film, and the art film. The discussion of fine comedy genres by Gehring himself is far more extensive than in other genre studies, embracing screwball comedy, populist comedy, parody, black humor, and clown comedy. . . . Recommended for both undergraduate and graduate collections." Choice

Between 1949 and 1999, the life and works of D.H. Lawrence have inspired ten feature films: nine based on works of fiction and one based on biography. In D. H Lawrence: Fifty Years on Film, Louis K. Greiff examines these films as adaptations, as cultural or historical documents, and as independent ...

Between 1949 and 1999, the life and works of D.H. Lawrence have inspired ten feature films: nine based on works of fiction and one based on biography. In D. H Lawrence: Fifty Years on Film, Louis K. Greiff examines these films as adaptations, as cultural or historical documents, and as independent works of art.

Significantly, the films were not spread evenly throughout decades but appeared in three clusters. The first group, or the "black and white", appeared between 1949 and 1960. With the exception of Marc Allegret's L'Amant de Lady Chatterley (1955), all celebrate the British common man as a midcentury hero and promote an unmistakable yet never strident postwar ethos that is Marxist in spirit.

The second cluster occurred during the late 1960s and early 1970s. These films show Lawrence's values as similar to the cultural values of the time -- nonconformity, neobohemianism, sexual rebellion, war protest, and the celebration of youth. The third group answers the question -- why, in an un-Lawrentian decade like the 1980s, was there a revival of Lawrence's works on film?

Greiff also deals with the contributions made by directors Ken Russell and Christopher Miles, both of whom directed Lawrence films of the latter two clusters. He shows how Russell and, to a lesser extent, Miles were responsible for bringing mass audiences in touch with the works of Lawrence.

Greiff's final and most important goal is to interpret and evaluate the Lawrence films. He looks first at the film as a visual representation of its text, then as an original act of creation and object of art.

Shakespeare, The Movie brings together an impressive line-up of contributors to consider how Shakespeare has been adapted on film, TV, and video, and explores the impact of this popularization on the canonical status of Shakespeare.Taking a fresh look at the Bard an his place in the movies ...

Shakespeare, The Movie brings together an impressive line-up of contributors to consider how Shakespeare has been adapted on film, TV, and video, and explores the impact of this popularization on the canonical status of Shakespeare.Taking a fresh look at the Bard an his place in the movies, Shakespeare, The Movie includes a selection of what is presently available in filmic format to the Shakespeare student or scholar, ranging across BBC television productions, filmed theatre productions, and full screen adaptations by Kenneth Branagh and Franco Zeffirelli. Films discussed include:* Amy Heckerling's Clueless * Gus van Sant's My Own Private Idaho * Branagh's Henry V * Baz Luhrman's William Shakespeare's Romeo and Juliet * John McTiernan's Last Action Hero * Peter Greenaway's Prospero's Books * Zeffirelli's Hamlet .