By Michael Anderegg
Cinematic Shakespeare takes the reader contained in the making of a couple of major variations to demonstrate how cinema transforms and re-imagines the dramatic shape and magnificence imperative to Shakespeare's imagination.
Cinematic Shakespeare investigates how Shakespeare movies represent a thrilling and ever-changing movie style. The demanding situations of adopting Shakespeare to cinema are like few different movie genres. Anderegg seems to be heavily at motion pictures through Laurence Olivier (Richard III), Orson Welles (Macbeth), and Kenneth Branagh (Hamlet) in addition to themes like 'Postmodern Shakespeares' (Julie Taymor's Titus and Peter Greenaway's Prospero's Books) and a number of variations through the years of Romeo and Juliet. A bankruptcy on tv seems to be heavily at American broadcasting within the Fifties (the Hallmark corridor of status Shakespeare diversifications) and the BBC/Time-Life Shakespeare performs from the overdue 70s and early 80s.
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Extra resources for Cinematic Shakespeare (Genre and Beyond)
6. Donald Hancock, "War Is Mud: Branagh's Dirty Harry V and the Types of Political Ambiguity," in Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video, ed. Lynda E. Boose and Richard Burt (London: Routledge, 1997), 45-66; 57. 7. Alan Dent, "Text-editing Shakespeare," in Hamlet: The Film and the Play, ed. Alan Dent (London: World Film Publications, 1948). 8. : Overlook, 1996), 16. 9. McKellen, Richard HI, 15. 10. " 11. That Olivier could be selfless as an actor can be seen in his production of The Prince and the Showgirl, as he builds up and carefully shapes Marilyn Monroe's role at his own expense.
My primary interest in the following pages will be in film adaptations of Shakespeare's plays. But I will discuss broadcast television and video in chapter 6, and I will make incidental reference to television Shakespeare throughout. Among the many ways of thinking about the interrelationships among these different technologies and the extent to which each creates its own "generic" expectation, we might consider, for instance, the influence of television on film. With Shakespeare, there are unexpected connections.
Shakespearean films are shaped by not only the theatrical styles and methods that often lie behind them but also the cinematic movements, styles, and aesthetic and technological norms of the period in which they are made. Which is another way of saying that Shakespearean films are something special-each film is nearly always treated as "exceptional" to some degree or other, something to be noted, notable within the larger discourse of film culture-and at the same time each film fits, particularly in retrospect, into specific generic categories.