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Lacking reasons why, we do our best to involve him in others, or involve others in him. Shakespeare has been branded many times over - as Catholic, Protestant, Marxist, Materialist, Psychoanalytic, Feminist, Postcolonial, Popular, Cultural and Popular-Cultural. Must we go on? Perhaps, if only because whatever these approaches say about tragedy in particular, none of them help us to feel tragedy. By virtue of 'explaining' tragedy (Shakespearean or otherwise), they all wind up explaining tragedy away. Rather than heightening its horrors, they palliate our perception. The aim of counterfactual criticism is to reanimate the tragic effect, long since lost in some deluge of explanation. Key Features - Provides a novel methodology designed to make Shakespeare and his tragedies more approachable to students and scholars alike - Provides a way beyond historicist methods in Shakespearean scholarship - Introduces the promise of, while modelling ways to exercise, counterfactual thinking in literary studies Amir Khan completed his doctoral dissertation at the University of Ottawa in June 2013. He has published articles in Popular Music and Society, Cineaction: Canada's Leading Film Studies Journal and Shakespeare Quarterly. He is also the managing editor of Conversations: The Journal of Cavellian Studies, an Open Journal Systems (OJS) publication dedicated to the writings of Stanley Cavell. 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Combining approaches from cultural, globalisation and film studies, Igor Krstic outlines a transnational history of films that either document or fictionalise the favelas, shantytowns, barrios populares or chawls of our 'planet of slums', exploring the way accelerated urbanisation has intersected with an increasingly interconnected global film culture. From Jacob Riis' How The Other Half Lives (1890) to Danny Boyle's Slumdog Millionaire (2008), the volume provides a number of close readings of films from different historical periods and regions to outline how contemporary film and media practices relate to their past predecessors - demonstrating the way various filmmakers, both north and south of the equator, have repeatedly grappled with, rejected or continuously modified documentary and realist modes to convey life in our 'planet of slums'. Igor Krstic is a postdoctoral researcher in the Department of Film, Theatre and Television at the University of Reading. 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