Download The Cambridge Companion to Shakespeare on Film, 2nd Edition by Jackson Russell (Editor) Russell Jackson (Editor) PDF

By Jackson Russell (Editor) Russell Jackson (Editor)

ISBN-10: 052168501X

ISBN-13: 9780521685016

ISBN-10: 0521866006

ISBN-13: 9780521866002

Movie diversifications of Shakespeare's performs are more and more renowned and now determine prominently within the research of his paintings and its reception. This better half is a full of life number of severe and historic essays at the movies tailored from, and encouraged via, Shakespeare's performs. Chapters were revised and up-to-date from the 1st variation to incorporate the newest movies and scholarship. a world group of major students speak about Shakespearean motion pictures from numerous views: as artworks of their personal correct; as items of the foreign motion picture undefined; and because the paintings of specific administrators from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. additionally they think of particular matters reminiscent of the portrayal of Shakespeare's girls and the supernatural. The emphasis is on function movies for cinema, instead of tv, with robust assurance of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet.

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Additional info for The Cambridge Companion to Shakespeare on Film, 2nd Edition (Cambridge Companions to Literature)

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Once the Elizabethan playhouse and the London it is set in have been established, the film proceeds for some time by framing the lines from the original play in a ‘historical’ performance mode, rather than by adding new lines and sequences. In Olivier’s epic the ideological dimension of this ‘prologue’ is strong, but is not explicit. )32 Branagh, by contrast, focuses on the medium itself by opening ‘backstage’ in a film studio (in the first drafts of his script this was to be a theatre) before moving to a scene of conspiracy between the two clerics: cinema, he implies, can make us privy to the secret workings of the state.

Films of the history plays might be thought to require even more by way of preparation, not so much in terms of attitude, but rather of information required for comprehension of what is to follow. Thus, Olivier’s Richard III begins with a rolling title, emblazoned on an illuminated parchment, which indicates that what is to follow is one of the legends attached to the crown – establishing the latter as a recurrent symbol – and then moves into a rearranged and augmented version of the play’s opening scene, designed to clarify the allegiances and background of the principal characters.

Students of Macbeth, for instance, can be offered a large variety of videotapes to support their readings of the play: these range from Welles’s or Polanski’s well-known films (1948 and 1971 respectively), to Jack Gold’s 1983 television production for the BBC series; they also include Trevor Nunn’s famous version, originally presented in 1976 at The Other Place in Stratford, then rethought for television and recorded in a Thames Television studio in 1978. A student’s immediate reaction will often be to refer to any of these as a video, or even the video of Macbeth.

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