Silvia Dibeltulo is Senior Lecturer in Communication, Media and Culture at Oxford Brookes University, UK. Her work centres on screen representations of identity, specifically in terms of ethnicity and gender, film genre, audience studies, cinema heritage, and digital humanities.Ciara Barrett is University Fellow in Film Studies at the National University of Ireland, Galway. Her research focuses on female performance, representation, and authorship in genre cinema and digital media.

• 1. Introduction: Genres in Transition (Silvia Dibeltulo and Ciara Barrett).- 2. Black, White, and Transnational: An Analysis of the Rise, Fall, and Potential Rebirth of the Contemporary Urban Dance Musical in Anglophone Western Cinemas (Ciara Barrett).- 3. Tales of Loss, Betrayal, and Regain: Irishness and Ethnic Identity in Contemporary Irish-Themed American Gangster Films (Silvia Dibeltulo).- 4. Neurotic and Going Nowhere: Comedy and the Contemporary Jewish American Male (Jennifer O’Meara).- 5. Modern Bromance, Mikhail Bakhtin, and the Dialogics of Alterity (David Wall).- 6. The En-genrement of the Nation: The Spanish Civil War Film and Guillermo del Toro’s Fantasies (Juan F. Egea).- 7. Commedia all’ italiana American Style: Assessing the Recent Remakes of Classic Comedy Italian Style (Giacomo Boitani).- 8. The Wuxia Films of Zhang Yimou: A Genre in Transit (Ian Kinane).- 9. The “Smart” Teen Film 1990-2005:Identity Crisis, Nostalgia, and the Teenage Viewpoint (Laura Canning).- 10. Constructing the Televideofilm: Corporatization, Genrefication, and the Blurring Boundaries of Nigerian Media (Noah Tsika).- 11. From Nordic Gloom to Nordic Cool: Producing Genre Film for the Global Markets (Pietari Kääpä).- 12. A Bollywood Commercial for Ireland: Filming Ek Tha Tiger in Dublin (Giovanna Rampazzo).- 13. Kant’s Sublime and the Disaster Film after 9/11 (Barry Monahan).- 14. Two Chronotopes of the Terrorist Genre (Cormac Deane).- 15. Between Torture Porn and Zombie Apocalypse: Horror and Utopia in British-themed Biopolitical Films after 9/11 (Tamás Nagypál).

Silvia Dibeltulo is Senior Lecturer in Communication, Media and Culture at Oxford Brookes University, UK. Her work centres on screen representations of identity, specifically in terms of ethnicity and gender, film genre, audience studies, cinema heritage, and digital humanities.Ciara Barrett is University Fellow in Film Studies at the National University of Ireland, Galway. Her research focuses on female performance, representation, and authorship in genre cinema and digital media.

• 1. Introduction: Genres in Transition (Silvia Dibeltulo and Ciara Barrett).- 2. Black, White, and Transnational: An Analysis of the Rise, Fall, and Potential Rebirth of the Contemporary Urban Dance Musical in Anglophone Western Cinemas (Ciara Barrett).- 3. Tales of Loss, Betrayal, and Regain: Irishness and Ethnic Identity in Contemporary Irish-Themed American Gangster Films (Silvia Dibeltulo).- 4. Neurotic and Going Nowhere: Comedy and the Contemporary Jewish American Male (Jennifer O’Meara).- 5. Modern Bromance, Mikhail Bakhtin, and the Dialogics of Alterity (David Wall).- 6. The En-genrement of the Nation: The Spanish Civil War Film and Guillermo del Toro’s Fantasies (Juan F. Egea).- 7. Commedia all’ italiana American Style: Assessing the Recent Remakes of Classic Comedy Italian Style (Giacomo Boitani).- 8. The Wuxia Films of Zhang Yimou: A Genre in Transit (Ian Kinane).- 9. The “Smart” Teen Film 1990-2005:Identity Crisis, Nostalgia, and the Teenage Viewpoint (Laura Canning).- 10. Constructing the Televideofilm: Corporatization, Genrefication, and the Blurring Boundaries of Nigerian Media (Noah Tsika).- 11. From Nordic Gloom to Nordic Cool: Producing Genre Film for the Global Markets (Pietari Kääpä).- 12. A Bollywood Commercial for Ireland: Filming Ek Tha Tiger in Dublin (Giovanna Rampazzo).- 13. Kant’s Sublime and the Disaster Film after 9/11 (Barry Monahan).- 14. Two Chronotopes of the Terrorist Genre (Cormac Deane).- 15. Between Torture Porn and Zombie Apocalypse: Horror and Utopia in British-themed Biopolitical Films after 9/11 (Tamás Nagypál).

Silvia Dibeltulo is Senior Lecturer in Communication, Media and Culture at Oxford Brookes University, UK. Her work centres on screen representations of identity, specifically in terms of ethnicity and gender, film genre, audience studies, cinema heritage, and digital humanities.Ciara Barrett is University Fellow in Film Studies at the National University of Ireland, Galway. Her research focuses on female performance, representation, and authorship in genre cinema and digital media.

• 1. Introduction: Genres in Transition (Silvia Dibeltulo and Ciara Barrett).- 2. Black, White, and Transnational: An Analysis of the Rise, Fall, and Potential Rebirth of the Contemporary Urban Dance Musical in Anglophone Western Cinemas (Ciara Barrett).- 3. Tales of Loss, Betrayal, and Regain: Irishness and Ethnic Identity in Contemporary Irish-Themed American Gangster Films (Silvia Dibeltulo).- 4. Neurotic and Going Nowhere: Comedy and the Contemporary Jewish American Male (Jennifer O’Meara).- 5. Modern Bromance, Mikhail Bakhtin, and the Dialogics of Alterity (David Wall).- 6. The En-genrement of the Nation: The Spanish Civil War Film and Guillermo del Toro’s Fantasies (Juan F. Egea).- 7. Commedia all’ italiana American Style: Assessing the Recent Remakes of Classic Comedy Italian Style (Giacomo Boitani).- 8. The Wuxia Films of Zhang Yimou: A Genre in Transit (Ian Kinane).- 9. The “Smart” Teen Film 1990-2005:Identity Crisis, Nostalgia, and the Teenage Viewpoint (Laura Canning).- 10. Constructing the Televideofilm: Corporatization, Genrefication, and the Blurring Boundaries of Nigerian Media (Noah Tsika).- 11. From Nordic Gloom to Nordic Cool: Producing Genre Film for the Global Markets (Pietari Kääpä).- 12. A Bollywood Commercial for Ireland: Filming Ek Tha Tiger in Dublin (Giovanna Rampazzo).- 13. Kant’s Sublime and the Disaster Film after 9/11 (Barry Monahan).- 14. Two Chronotopes of the Terrorist Genre (Cormac Deane).- 15. Between Torture Porn and Zombie Apocalypse: Horror and Utopia in British-themed Biopolitical Films after 9/11 (Tamás Nagypál).