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This chapter analyses Jonathan Levine’s Warm Bodies (2009) and David Lachapelle’s Romeo & Juliet (2005) as screen works that appropriate Shakespeare not through the play-text of Romeo and Juliet but instead through its screen history of networked hypertexts. I argue that both films decentre Shakespeare as a source by appropriating Baz Luhrmann’s Romeo + Juliet (1996), rather than the play-text, as a key hypotext. Both Levine and Lachapelle’s works can be discussed from various perspectives of adaptation studies. They are, for example, good examples of genre films – Lachapelle’s Romeo & Juliet, a six-minute film advertising H&M denim jeans, is a commercial advertisement in the form of a music video, whilst Warm Bodies is a romzomcom.
According to self-representationalism, a mental state is phenomenally conscious when it represents itself in the right way. The motivation for this view is a conception of phenomenal consciousness as involving essentially a subtle, primordial kind of self-consciousness. A consequence of this conception is that the alleged explanatory gap between phenomenal consciousness and physical properties is eo ipso an explanatory gap between self-consciousness and physical properties. This chapter first explains how self-representationalism can address this explanatory gap. It opens with a presentation of self-representationalism and the motivation for it. Then, it describes the most promising self-representational approach to the explanatory gap. This approach is threatened by an objection to self-representationalism, raised by Levine, which the author calls the "just more representation" objection. Finally, the chapter shows how the self-representationalist might approach the objection.
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