The Cambridge Companion to Shakespeare on FilmRussell Jackson Cambridge University Press, 2000 M10 26 - 342 pages Film adaptations of Shakespeare's plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare's plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives: as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare's women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong coverage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. |
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Results 1-5 of 89
Page i
... directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh . They also consider specific ... Director of the Shakespeare Institute , University of Birmingham . He has worked as a textual adviser on several ...
... directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh . They also consider specific ... Director of the Shakespeare Institute , University of Birmingham . He has worked as a textual adviser on several ...
Page xiii
... director as auteur ; and with regard to broader issues of cultural politics . In this Companion several films and plays are considered by different contributors from different points of view : in particular , the various films of Hamlet ...
... director as auteur ; and with regard to broader issues of cultural politics . In this Companion several films and plays are considered by different contributors from different points of view : in particular , the various films of Hamlet ...
Page 1
... directors have often given accounts of their dealings with the ' front office ' in which the latter's functionaries figure as craven , sentimental and reactionary , a characterisation many in the industry would of course dispute.1 On a ...
... directors have often given accounts of their dealings with the ' front office ' in which the latter's functionaries figure as craven , sentimental and reactionary , a characterisation many in the industry would of course dispute.1 On a ...
Page 3
... director , Max Reinhardt , but after its failure at the box - office nothing came of these plans . The opulent Romeo ... director's Hamlet ( 1948 ) was a suc- cessful ' prestige ' undertaking for the producer J. Arthur Rank , but after ...
... director , Max Reinhardt , but after its failure at the box - office nothing came of these plans . The opulent Romeo ... director's Hamlet ( 1948 ) was a suc- cessful ' prestige ' undertaking for the producer J. Arthur Rank , but after ...
Page 4
... director's Much Ado About Nothing ( 1994 ) , which cost only $ 8m . to make and grossed over $ 22m . in the USA on its initial theatrical release . The films following immediately in the wake of these two seem not to have fared so well ...
... director's Much Ado About Nothing ( 1994 ) , which cost only $ 8m . to make and grossed over $ 22m . in the USA on its initial theatrical release . The films following immediately in the wake of these two seem not to have fared so well ...
Contents
From playscript to screenplay | 15 |
Video and its paradoxes | 35 |
Critical junctures in Shakespeare screen history the case of Richard III | 47 |
Shakespeare and movie genre the case of Hamlet | 72 |
Genres and plays | 83 |
The comedies on film | 85 |
Filming Shakespeares history three films of Richard III | 99 |
Hamlet Macbeth and King Lear on film | 117 |
Grigori Kozintsevs Hamlet and King Lear | 199 |
Franco Zeffirelli and Shakespeare | 212 |
Flamboyant realist Kenneth Branagh | 222 |
Critical issues | 239 |
Looking at Shakespeares women on film | 241 |
National and racial stereotypes in Shakespeare films | 261 |
Shakespeare the illusionist filming the supernatural | 274 |
Shakespeares cinematic offshoots | 295 |
The tragedies of love on film | 135 |
Directors | 161 |
The Shakespeare films of Laurence Olivier | 163 |
Orson Welles and f1lmed Shakespeare | 183 |
314 | |
FILMOGRAPHY | 318 |
325 | |
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Common terms and phrases
Act 4 scene actors adaptation American Anthony Davies Antony audience Banquo Cambridge Companion camera Capulet Cassio castle character Chimes at Midnight cinema Claudius close-up comedy critics cultural Desdemona director drama edited Elizabethan Elsinore English face Falstaff film's Fortinbras frame Franco Zeffirelli genre Gertrude ghost Hamlet Henry Hollywood Iago Iago's Ian McKellen images Jorgens Kate Kenneth Branagh Kenneth Branagh's King Lear Kozintsev Kurosawa Laurence Olivier Loncraine London look Luhrmann Manvell McKellen medium Méliès Michael Midsummer Night's Dream move murder narrative Nunn's Olivier's film Ophelia Orson Othello performance Peter play's Polanski's political Review Richard Richard III role Romeo and Juliet screen screenplay script sexual Shakespeare films Shakespeare on Film Shakespeare's play shot Shrew silent soliloquy speech stage production star studio supernatural television theatre theatrical Throne of Blood tion tradition tragedy visual voice Washizu Welles's witches women words York