Jeffrey Knapp's Pleasing Everyone: Mass Entertainment in Renaissance London and Golden-Age Hollywood persuasively argues that the size of theatre audiences and the popularity of printed playbooks mean that Renaissance drama should be classed as mass entertainment...Knapp avoids the trap of making generalizations about two very different time periods, carefully historicizing his analysis of plays and film alike. The comparison between Renaissance drama and
goldenage Hollywood forces us to re-evaluate modern attitudes to popular entertainment and mass media. For the early modern scholar, Knapp's monogram offers a welcome reminder that Renaissance drama was not only popular but often populist. * Jennifer Cryar, The English Association * Knapp has written one of the most interesting books about Shakespeare and film precisely because it isn't a study of Shakespeare on film, thereby revealing some highly original insights about both forms. * Henry Turner, SEl * An important and eminently readable book whose central hypothesis needs to be taken seriously by anyone who entertains an interest in Renaissance drama or popular entertainment of whatever guise. * Bulletin of the Comedi antes * With its original critical and historiographical strategies and meticulous scholarship, Pleasing Everyone is a remarkable achievement. Knapp's acute comparative analyses of the performance cultures of Shakespeare's London and Hollywood's 'Golden Age' and sophisticated, lively readings of films and plays make this an outstandingly engaging and stimulating read."-RUSSELL JACKSON, University of Birmingham What happens when, putting our high-toned Renaissance drama next to our lowdown Hollywood cinema, we think them together? In Jeffrey Knapp's strongly argued new study, the outcome is an original-and highly usable-conception of 'mass entertainment' in which art and junk, individual and mass, author and collaboration are always inseparable in their dialectical play. For all its immortal verses, the drama proves as fully invested in the business of popular entertainment
as anything that came after it; and despite its programmatic accessibility, the cinema acquires an artistic credibility that makes talk of 'authors' and 'self-reflection' necessary categories of analysis. The intricate readings that carry this argument forward are so fresh that even practiced
critical hands may feel they are discovering The Winter's Tale or Citizen Kane for the first time."-D.A. MILLER, University of California, Berkeley In taking on the theater/film dyad, Knapp strikes at the heart of many of the theoretical foundations of the entire field of cinema studies itself, patiently eroding the apparent self-evidence of terms such as 'mass,' 'entertainment,' 'art,' 'modernity,' and 'technology,' by giving them a different history and by showing, through a series of tour-de-force close readings, how that history has been shaped and reflected upon by plays and films themselves. Pleasing
Everyone is a game-changer, bringing to cinema and media studies a salutary shift in frame of reference that will be the source of much study and debate."-JAMES SCHAMUS, Columbia University