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Download e-book for iPad: A Concise Companion to Shakespeare on Screen by Diana E. Henderson

By Diana E. Henderson

ISBN-10: 1405115106

ISBN-13: 9781405115100

ISBN-10: 1405115114

ISBN-13: 9781405115117

This Concise spouse provides a multidisciplinary variety of methods to an enormous multimedia topic, Shakespeare on display.

The book’s participants use the newest considering from cultural reports, communications, and comparative media, in discussion with literary, theatrical, and filmic methods, with the intention to push the sector ahead. they give thought to Shakespeare on monitor not just as a collection of entire items but in addition as a procedure. consequently, the quantity is prepared round subject matters equivalent to authorship and collaboration, theatricality, intercourse and violence, globalization, and historical past.

The Concise better half bargains readers numerous available routes into Shakespeare on reveal and helps additional learn of the topic during the inclusion of a bibliography, a chronological chart, and a radical index. even as, it serves as a focus for exploring primary matters within the research of literature and tradition extra widely, reminiscent of the relationships among elite and pop culture, paintings and undefined, textual content, photo, and function.

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She asked her camerawork team to match Lavinia and Bassanius’ sense of panic with unsteady, unnerving shooting and she had the editor splice the shots without “perfect” continuity – saying, “I wanted the audience to feel like the attacked” (Taymor 2000b). In Almereyda’s Hamlet, some scenes and speech snippets are shown as the central character’s video diaries, black-and-white disjointed sequences which Hamlet edits on his computer screen (see DONALDSON). Each case reveals the process of manipulating reality for particular emotional and aesthetic effects: by highlighting the subjectivity of representation, the films (not unlike Brecht’s epic theater) provoke complex responses hovering between detachment and engagement.

Pacino and Kimball’s attempt to commune with some Shakespearean spirit instead emphasizes the impossibility 8 Getting Back to Shakespeare of immediate contact with the author or the intentions behind his work. Nevertheless, in Looking for Richard, Pacino looks everywhere for tangible ways to bridge the gap between himself and Shakespeare, to “authorize” his production of Richard III. He consults dusty tomes, people on the street, other actors and directors, and specifically English academics, and visits the site of the new Globe in London (under construction in 1996) as well as the birthplace.

In Shakespeare in the Movies, Douglas Brode adopts an even more Romantic approach, evaluating films according to Shakespeare’s “personal vision” and “authorial intention” (2000: 225). The implicit assumption is that Shakespeare is a precursor of Andrew Sarris’ auteur figure – “the film artist who, through the force of his powerful personality and aesthetic preoccupations, is able to overcome all barriers to the expression of his vision” (Lehmann 2001: 62). My goal is not to provide a comprehensive survey of critical debates, but to illustrate that problems of fidelity remain: the desire and sense that it might be possible to “get back to Shakespeare,” to represent his work authoritatively, persists.

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A Concise Companion to Shakespeare on Screen by Diana E. Henderson


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