Shakespeare

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

By Diana E. Henderson

ISBN-10: 1405115106

ISBN-13: 9781405115100

This Concise better half offers a multidisciplinary variety of ways to an unlimited multimedia topic, Shakespeare on monitor. The book’s members use the most recent considering from cultural reports, communications, and comparative media, in discussion with literary, theatrical, and filmic methods, so as to push the sector ahead. they give thought to Shakespeare on display not just as a collection of comprehensive items but in addition as a strategy. consequently, the quantity is geared up round themes similar to authorship and collaboration, theatricality, intercourse and violence, globalization, and background. The Concise significant other bargains readers numerous available routes into Shakespeare on reveal and helps additional research of the topic during the inclusion of a bibliography, a chronological chart, and an intensive index. even as, it serves as a focus for exploring primary matters within the examine of literature and tradition extra greatly, comparable to the relationships among elite and pop culture, paintings and undefined, textual content, photo, and function.

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Additional resources for A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture)

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Hamlet’s own film (instead of play) is a montage of different film clips: The Mousetrap opens with a rose unfurling with time-lapse cinematography (as in Scorsese’s The Age of Innocence credit sequence), cuts to Golden Age television images of a boy with his parents, to “Monty Pythonesque” cartoon images of the ear poisoning, to porn clips, to a shot of an audience emphatically clapping, to various images of death. In this climactic film-withinthe-film, words are dispensed with altogether. Almereyda’s treatment of a familiar scene prompts a new response, demanding that the audience (both within and outside the film world) piece the story of The Mousetrap together by assimilating the cinematic montage (the images evoke the text, rather than the other way around).

Items from the 1940s are seductively photographed in close-up: from genuine “Abdullah” cigarettes (a rare packet was bought especially) to cars and costuming (McKellen and Loncraine 1996: 48). Patrick Wright describes British “historical” dramas which play out their stories in reconstructed interiors packed with period objects, all arranged in that slightly obsessive manner which speaks of a present yearning for a time when things at least had the dignity of an indisputable place in an ordered world .

Kimball immediately flies into a rage of romantic rhetoric, claiming that actors are the “proud inheritors of the understanding of Shakespeare” and the “truth” of his plays, that actors are more qualified than anyone to determine Shakespeare’s meanings. The encounter captures the struggle inherent in making a “Shakespeare film,” between the sense of (financial and ideological) obligation to “decode” Shakespeare for a wide audience and the necessary admission of the limitations in any interpretation.

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