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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Page i
... He is co - editor of Shakespeare : An Illustrated Stage History ( 1996 ) and two volumes in the Players of Shakespeare series . He has also edited Oscar Wilde's plays . THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM CAMBRIDGE COMPANIONS TO.
... He is co - editor of Shakespeare : An Illustrated Stage History ( 1996 ) and two volumes in the Players of Shakespeare series . He has also edited Oscar Wilde's plays . THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM CAMBRIDGE COMPANIONS TO.
Page 3
... stage performances : such are the fragment showing Sir Herbert Beerbohm - Tree in King John and the 1911 film of F. R. Benson's company on stage at Stratford - upon - Avon in scenes from Richard III.4 Some films either emulate ...
... stage performances : such are the fragment showing Sir Herbert Beerbohm - Tree in King John and the 1911 film of F. R. Benson's company on stage at Stratford - upon - Avon in scenes from Richard III.4 Some films either emulate ...
Page 5
... stage . Although its budget was a rela- tively modest $ 14.5m . , it was given the ' wide ' opening regularly employed with much bigger films : the distributors opened it on 1,276 screens in the USA , gross- ing over $ 11m . in the ...
... stage . Although its budget was a rela- tively modest $ 14.5m . , it was given the ' wide ' opening regularly employed with much bigger films : the distributors opened it on 1,276 screens in the USA , gross- ing over $ 11m . in the ...
Page 6
... stage productions of the play have done . ) Moreover , dramatic ' character ' , constructed on a psychologising basis in the manner of Stanislavsky and his heirs , has been treated with suspicion as an unhis- torical imposition from the ...
... stage productions of the play have done . ) Moreover , dramatic ' character ' , constructed on a psychologising basis in the manner of Stanislavsky and his heirs , has been treated with suspicion as an unhis- torical imposition from the ...
Page 7
Russell Jackson. and many stage productions at least since 1964 , when the English translation of Jan Kott's Shakespeare our Contemporary was published.17 Even when the writer of a Shakespearean screenplay is not being threatened by the ...
Russell Jackson. and many stage productions at least since 1964 , when the English translation of Jan Kott's Shakespeare our Contemporary was published.17 Even when the writer of a Shakespearean screenplay is not being threatened by the ...
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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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