By Diana E. Henderson
This Concise better half provides a multidisciplinary variety of ways to an unlimited multimedia topic, Shakespeare on monitor. The book’s individuals use the newest considering from cultural experiences, communications, and comparative media, in discussion with literary, theatrical, and filmic techniques, for you to push the sector ahead. they give thought to Shakespeare on reveal not just as a collection of entire items but additionally as a method. therefore, the amount is equipped round themes corresponding to authorship and collaboration, theatricality, intercourse and violence, globalization, and heritage. The Concise spouse bargains readers a number of available routes into Shakespeare on reveal and helps extra research of the topic during the inclusion of a bibliography, a chronological chart, and a radical index. while, it serves as a focus for exploring basic concerns within the research of literature and tradition extra extensively, akin to the relationships among elite and pop culture, paintings and undefined, textual content, snapshot, and function.
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Additional info for A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture)
Jorgens (1977) paved the way for 10 Getting Back to Shakespeare fundamental shifts in Shakespeare-on-screen criticism. ” The preoccupation with “what gets lost” in the translation from stage-play to ﬁlm has given way “to a more open and adventurous foray,” “discovering that which is unique and special about each movie” in both aesthetic and sociological terms (Rothwell 2001: 82–3). Recent writing considers the ideological and cultural work, the various realities that Shakespeare ﬁlms represent: in Shakespeare, Cinema and Society (1989), John Collick provides a Marxist analysis of the social signiﬁcance of ﬁlms produced in Europe, Russia, and Japan; Shakespeare, Film, Fin de Siècle (2000), edited by Burnett and Wray, analyzes how Shakespeare ﬁlms of the 1990s confront “millennial anxieties”; Shakespeare on Film (1998), edited by Shaughnessy, ranges from formalist analyses to Marxist, psychoanalytic, poststructuralist, feminist, and queer readings of diverse (popular and “arthouse”) ﬁlms; Michael Anderegg (1999) provides a comprehensive, historical account of Orson Welles’ productions; Shakespeare the Movie (1997), edited by Boose and Burt, establishes cultural, industrial, and aesthetic contexts for the consideration of Shakespeare adapted to ﬁlm, television, and video; Spectacular Shakespeare (2002), edited by Lehmann and Starks, considers their ideological resonance at the multiplex and in the classroom.
Anderson, Jeffrey M. (2000). shtml. Barthes, Roland (1977). Image/Music/Text, ed. and trans. Stephen Heath. London: Fontana. Belsey, Catherine (1980). Critical Practice. London and New York: Methuen. —— (1983). 3: 152–8. Bennett, Susan (1996). Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London and New York: Routledge. 28 Getting Back to Shakespeare Berlin, Normand (1977).
Dis)location has been the very stuff of intellectual and artistic debate – about media, about “modernity” – since the moving picture era began. Nevertheless, Burt’s remarks force me to reﬁne my distinctions between, say, the Hollywood satire of Singin’ in the Rain (1952) and the metatheatricality of Baz Luhrmann’s “Red Curtain” trilogy: theoretical disagreement, in other words, may stimulate better readings and new comparisons. In addition to debating and combining methodologies, we should also bring new technical and statistical resources to bear upon our analyses: the rigorous combination of social science research with humanistic questions, for example, may help move us beyond the anecdotal and intuitive when discussing audience reception, ostensible standards 5 Diana E.
A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture) by Diana E. Henderson