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Swedish children’s cinema has a long and rich history. It encompasses the rascal films of the 1920s, the realism of the 1940s, the ambitious artistic renewal of the 1970s, the child empowering films of the 1990s through the early 2000s, and the multiple, exceedingly popular, Astrid Lindgren adaptations across the decades. Devoted to exploring this cinematographic legacy, this book offers close readings across academic disciplines, probing various genres, eras, media debates, transmediations, and audience-receptions. Childhood studies, with its critical comprehension of society’s changing notions of childhood, here serves as a key framework in fruitful combination with, inter alia, feminist, queer, intermedial, postcolonial, and eco-critical perspectives. This collection fills an important knowledge gap on Swedish film history as well as the distinctly Nordic tradition of children’s culture, and thereby contributes to the burgeoning field of international children’s cinema research. It is introduced with a foreword by Mark Cousins. Malena Janson is a senior lecturer in child culture at Stockholm University. Her research comprises the ideology and aesthetics of children’s cinema, representations of children in audiovisual media, and film education. She has also published extensively on the subjects of film and child culture in national Swedish newspapers and journals. .

Motion picture plays, European. --- Youth --- European Film and TV. --- Youth Culture. --- Social life and customs.

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This book is a comprehensive study of peripheral locations in contemporary European TV crime series. Ambitiously, it covers the complete geography of Europe, and offers a nuanced image of a changing, dynamic, and unfinished continent. The chapters include analyses of the practical, creative approach to producing crime series in European peripheries and rural areas, evaluating a continent marked by an internal crisis between urban and rural Europe. The study includes readings of crime series such as Shetland, Bitter Daisies, Trom, Pagan Peak, and The Border, but presents such representative cases within broader tendencies on the European TV market, including challenges from streaming services, the influence of Nordic Noir, and changes within the cognitive geography of Europe. The authors position peripheral European crime series in a complex relationship between universal appeal and local recognisability and offer a comprehensive theoretical approach to theaesthetics of peripherality. Grounded in desktop production studies, the book presents an original scholarly approach to analysing European crime series from a continental point of view. Despite local differences, the spatio-generic orientations scrutinized in the book – Nordic Noir, Mediterranean Noir, Country Noir, Eastern Noir, and Brit Noir – show remarkable aesthetic similarities in series from territories otherwise normally unconnected in television production. Consequently, television crime series reveal a common tongue and voice for dialogue on a continent in a deepening crisis. Kim Toft Hansen is Associate Professor of Scandinavian Media Studies at Aalborg University, Denmark. He is the co-author of Locating Nordic Noir: From Beck to The Bridge (2017), the co-editor of European Television Crime Drama and Beyond (2018) and has written extensively on Nordic and European television crime series. Valentina Re is Full Professor of Film and Media Studies at Link Campus University, Italy. She is the editor of Streaming media. Distribuzione, circolazione, accesso (2017) and the PI of the research project The Atlas of Italian “Giallo”: Media History and Popular Culture (1954-2020), funded by the Italian Ministry of University and Research (2022-25). .

Motion picture plays, European. --- Motion pictures --- European Film and TV. --- Film and Television Production. --- Production and direction.

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Recent social and political events in Spain have prompted a resurgence of feminism in the Spanish public sphere. Popular culture intervenes in these debates, and television does so specifically through the dramas which foreground female stories and female subjects, in many cases redefining and interpreting key moments in the progression of national gender politics. This pioneering study maps these developing concerns onto a selection of TV dramas which centre on feminisms and female identities, and as such are key interlocutors in social change. Our intention is to mainstream Spanish television studies and, in our analysis of its innovative and varied approach to gender politics, to take it out of the ‘interpretative isolation ward’ (Smith 2006). This monograph fills a significant gap in the literature on transnational popular culture; it is ground-breaking in its interdisciplinarity (television, modern languages, gender studies) and is the first of its kind in English. Anja Louis completed her undergraduate and postgraduate degrees in Hispanic Studies at Birkbeck College (University of London). She is Professor of Transnational Pop Culture at Sheffield Hallam University, UK. She is REF coordinator and member of the research leadership team. She has previously worked at the Universities of Sheffield, New York and Suffolk/Boston. She has published widely in the fields of gender studies, law and popular culture. Her monograph Women and the Law: Carmen de Burgos, an Early Feminist is a seminal study on the Spanish feminist Carmen de Burgos. She has also co-edited a collection of essays that brings together leading international specialists of Burgos's work (Multiple Modernities: Carmen de Burgos, Author and Activist, Routledge, 2017). More recently, her research projects examine the representation of female lawyers and law enforcement officers in film and television. Abigail Loxham completed her undergraduate and postgraduate degrees at the University of Cambridge,UK. She is a Reader in Hispanic Film Studies at the University of Liverpool and has previously worked at the Universities of Hull, Queensland and Manchester. She has published on cinema from Spain with a focus on Catalonia, gender and Spanish film, television and memory and more recently gender and postfeminism in Spanish TV drama. More recently her focus has been on popular mediations of feminism in contemporary Spanish culture with a focus on celebrity feminist writers, creators, actors and podcasters.

Motion picture plays, European. --- Gender identity in mass media. --- Sex. --- European Film and TV. --- Media and Gender. --- Gender Studies.

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‘Timely and wide-ranging, this is a lucid and essential read. It offers a telling account of the far-reaching impacts of the global streaming revolution on all facets of today’s European film industries, as they transition from the recent sweeping changes to a still evolving future.’ Laura Rascaroli, Professor of Film and Media at University College Cork ‘This excellent collection demonstrates how European producers, distributors and exhibitors have found various ways of engaging with the streaming platforms – oppositional, evasive or integrational. What constitutes “Europeanness” is being revised and redefined through the work of numerous important scholars in the field.’ Andrew Spicer, Professor of Cultural Production, University of the West of England This collection examines the impact of streaming platforms on European cinema. It is structured from three distinct points-of-view: the policy issues related to streaming platforms, equally at the European level and in individual countries; the impact of platforms on the circulation of European films, including some of the global players, multi-national and single-nation platforms operating in Europe; and the production activities of the platforms in the form of specific ‘original’ films. By bringing together scholars working on various national cinemas, including those of France, Spain, Britain and other countries, this collection illuminates the many ways in which the European film industry is responding to the digital revolution. Christopher Meir is Assistant Professor of Communication at the Universidad Carlos III de Madrid. Roderik Smits is Research Fellow in Film and Media Studies at the Universidad Carlos III de Madrid. Chapter 5 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Motion pictures --- Streaming technology (Telecommunications) --- Technological innovations --- Motion picture plays, European. --- Motion picture industry. --- Television broadcasting. --- European Film and TV. --- Film and Television Industry.

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The focus on twenty-first-century adaptations—many of them little known—of nineteenth-century Spanish novels produces a highly original study, particularly since the adaptations are discussed on their own merits as creative responses to contemporary concerns such as disability, indebtedness, and domestic violence. The stress on free adaptations—in cinema, television, theatre, opera, and graphic narrative—is refreshing. Particularly welcome is the attention not just to the visual reimagining of literary sources but also to the use of musical effects. Readers will take away from this book an appreciation of the inventiveness of contemporary Spanish cultural production. —Jo Labanyi, New York University (USA) Those who are suspicious of non-traditional adaptations of classic literary works will change their minds after reading Linda Willem’s studies of re-mediated versions of nineteenth-century Spanish novels. The adaptations vividly illustrate each work’s relevance to contemporary concerns, and Willem’s analyses bring fresh understanding both to the original works and to the creative re-envisionings of them. Each chapter allows nonspecialists to discover the richness of works by Alas, Galdós, Pardo Bazán, Valera, and Blasco Ibáñez, while making specialists eager to re-read the original works and to teach them with their adaptations. Everyone who is interested in adaptation will enjoy this volume. —Joyce Tolliver, University of Illinois at Urbana-Champaign (USA) The twenty-first-century's turn away from fidelity-based adaptations toward more innovative approaches has allowed adapters from Spain, Argentina, and the United States to draw upon Spain's rich body of nineteenth-century classics to address contemporary concerns about gender, sexuality, race, class, disability, celebrity, immigration, identity, social justice, and domestic violence. This book provides a snapshot of visual adaptations in the first two decades of the new millennium, examining how novelistic material from the past has been remediated for today's viewers through film, television, theater, opera, and the graphic novel. Its theoretical approach refines the binary view of adapters as either honoring or opposing their source texts by positing three types of adaptation strategies: salvaging (which preserves old stories by giving them renewed life for modern audiences), utilizing (which draws upon a pre-existing text for an alternative purpose, building upon the story and creating a shift in emphasis without devaluing the source material), and appropriation (which involves a critique of the source text, often with an attempt to dismantle its authority). Special attention is given to how adapters address audiences that are familiar with the source novels, and those that are not. This examination of the vibrant afterlife of classic literature will be of interest to scholars and educators in the fields of adaptation, media, Spanish literature, cultural studies, performance, and the graphic arts.

Spanish literature --- Mass media and literature. --- Literature and mass media --- Literature --- Adaptation (Literary, artistic, etc.). --- Motion picture plays, European. --- Literature, Modern --- Adaptation Studies. --- European Film and TV. --- Nineteenth-Century Literature. --- 19th century. --- European motion picture plays --- European drama --- Arts --- Inspiration --- Film adaptations. --- Adaptations --- History and criticism. --- Film adaptations