Inma Sánchez García is Lecturer in Intermediality Studies at the University of Edinburgh, UK, where she convenes and teaches courses on Shakespeare, film adaptation, and intermediality. She holds a PhD from the University of Northumbria at Newcastle and completed earlier studies at the University of Murcia and the University of Castilla-La Mancha in Spain. Her research has appeared in peer-reviewed journals in early modern English studies, including SEDERI, Cahiers Élisabéthains, and Shakespeare Jahrbuch. She has also contributed chapters to Teaching Shakespeare in Film and the Arts Today, The Palgrave Encyclopedia of Global Shakespeare, and Thinking Intermediality: Identity, Ethics and Aesthetics. Her current research explores two distinct but interrelated strands: Shakespeare’s afterlives in contemporary queer cinema and Shakespeare’s reception across media in Spain and Europe. She is a member of two collaborative research projects funded by the Spanish Ministry of Science and Innovation: ‘Shakespeare, Activism and the Arts in the 21st Century’ (SHAKE-ART21) and ‘The Reception of Shakespeare’s Works in Spanish and European Culture III’ (SHAKCULT3).

• Part 1: Introduction.- Chapter 1: State of Play: Borders, Thresholds, Connections.- Chapter 2: European Filmic Shakespeares: Chimes at Midnight, That Most Important Thing: Love, and The Celebration.- Part 2: Civilization.- Chapter 3: Signifying Nothing? Silence and Female Subjectivities in Persona.- Chapter 4: Sex, Lies, and the Handkerchief: Immigration and Sexploitation in Otel·lo.- Part 3: Dis/Integration.- Chapter 5: Heterotopic Lovers: Counter-spaces of Nazi-occupied Prague in Romeo, Juliet, and Darkness.- Chapter 6: War-Crossed Lovers: Strangers across Borders in The High Sun.- Part 4: Democracy.- Chapter 7: ‘Under whose countenance we steal’: Commodities, Thievery, and the Underclass in Favourites of the Moon.- Chapter 8: Back to the Future: Intimacy, the Populace and Collective Memory in Madrid, 1987.- Conclusion.