Shakespeare at the Cineplex

Harold Bloom, Shakespeare: The Invention of the Human (New York: River- head Books, 1998), p. 4. 14. Jorgens, Shakespeare on Film, p. 9. 15. Ibid. 16. Richard Eyre had directed McKellen's stage performance of Richard III for the Royal ...

Author: Samuel Crowl

Publisher: Ohio University Press

ISBN: 9780821414941

Category: Literary Criticism

Page: 254

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Rated ‘Outstanding’ in the 2004 edition of University Press Books Selected for Public and Secondary School Libraries Samuel Crowl's Shakespeare at the Cineplex: The Kenneth Branagh Era is the first thorough exploration of the fifteen major Shakespeare films released since the surprising success of Kenneth Branagh's Henry V (1989). Crowl presents the rich variety of these films in the “long decade: between the fall of the Berlin Wall and the terrorist attacks on September 11, 2001.” The productions range from Hollywood-saturated films such as Franco Zeffirelli's Hamlet and Michael Hoffman's A Midsummer Night's Dream to more modest, experimental offerings, such as Christine Edzard's As You Like It. Now available in paperback, Shakespeare at the Cineplex will be welcome reading for fans, students, and scholars of Shakespeare in performance.

Shakespeare and the English speaking Cinema

and their significance in facilitating by example the producers' confidence in Shakespeare as a potential product, if only for prestige purposes, is examined by Samuel Crowl in Shakespeare at the Cineplex: The Kenneth Branagh Era ...

Author: Russell Jackson

Publisher: Oxford University Press

ISBN: 9780199659470

Category: Drama

Page: 190

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Shakespeare and the English-speaking Cinema offers a lively and authorative account of the ways in which Shakespeare's plays have been adapted for the screen.

Shakespeare in the Cinema

The emphasis on language comes from Nunn's time with the Royal Shakespeare Company, including nearly twenty years as its artistic director. During that time, he (and most people involved with the RSC) was greatly influenced by John ...

Author: Stephen M. Buhler

Publisher: State University of New York Press

ISBN: 9780791489758

Category: Social Science

Page: 227

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A comprehensive look at film adaptations of Shakespeare's plays.

Shakespeare and World Cinema

be; and it forces us to think about pertinent questions of fidelity and authorship, authority and evidence. ... 3 Samuel Crowl, Shakespeare at the Cineplex: the Kenneth Branagh Era (Athens: Ohio University Press, 2003), p. 1.

Author: Mark Thornton Burnett

Publisher: Cambridge University Press

ISBN: 9781107003316

Category: Literary Criticism

Page: 272

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This book explores the significance of Shakespeare in contemporary world cinema for the first time. Mark Thornton Burnett draws on a wealth of examples from Africa, the Arctic, Brazil, China, France, India, Malaysia, Mexico, Singapore, Tibet, Venezuela, Yemen and elsewhere.

The Routledge Guide to William Shakespeare

A cinema for a new century As the title of Mark Thornton Burnett and Ramona Wray's 2000 collection Shakespeare, Film, Fin de Siècle indicates, Shakespearean scholarship which concentrates upon contemporary film tends to be ...

Author: Robert Shaughnessy

Publisher: Routledge

ISBN: 9781136855047

Category: Literary Criticism

Page: 505

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Demystifying and contextualising Shakespeare for the twenty-first century, this book offers both an introduction to the subject for beginners as well as an invaluable resource for more experienced Shakespeareans. In this friendly, structured guide, Robert Shaughnessy: introduces Shakespeare’s life and works in context, providing crucial historical background looks at each of Shakespeare’s plays in turn, considering issues of historical context, contemporary criticism and performance history provides detailed discussion of twentieth-century Shakespearean criticism, exploring the theories, debates and discoveries that shape our understanding of Shakespeare today looks at contemporary performances of Shakespeare on stage and screen provides further critical reading by play outlines detailed chronologies of Shakespeare’s life and works and also of twentieth-century criticism The companion website at www.routledge.com/textbooks/shaughnessy contains student-focused materials and resources, including an interactive timeline and annotated weblinks.

The Fluid Frame in Cinema

Shakespeare's art will reach out to its global audience in myriad ways that we cannot yet foresee. ... In Orson Welles, Shakespeare, and Popular Culture. ... Buhler, Stephen M. Shakespeare in the Cinema: Ocular Proof.

Author: Pradipta Mukherjee

Publisher: Cambridge Scholars Publishing

ISBN: 9781527573772

Category: Performing Arts

Page: 195

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This book is a passionate rendezvous with cinema, the most collaborative of art forms. The essays here explore the possibilities offered by a close reading of cinema that keeps cultural contexts and their socio-historical roots firmly in sight. This collection does not consider the “frame”, that oft-referenced basic unit of vision in films, as a limiting structure. Rather, it brings into purview what is left out. Divided into three sections, the essays look firstly at Indian cinema, both Bollywood and regional films, tracing the journey of Indian cinema from the periphery to the center. The second section focuses on Adaptation Studies and takes an unorthodox look at classic adaptations of literature. The final section is a reappraisal of directors like Alfred Hitchcock and Stanley Kubrick. The essays propose that, even though the film as an artwork does not change fundamentally over time, it still strikes a contemporary critical gaze differently.

Shakespearean Gothic

52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 Branagh, Hamlet, by William Shakespeare, p. 27. Ibid., pp. 43,44, 44 and 47. Ibid., pp. 80–1. Ibid., p. 125. Hogle, 'Introduction', p. 5. Samuel Crowl, Shakespeare at the Cineplex: ...

Author: Christy Desmet

Publisher: University of Wales Press

ISBN: 9781783163717

Category: Literary Criticism

Page:

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This book explores the paradox that the Gothic (today’s werewolves, vampires, and horror movies) owe their origins (and their legitimacy) to eighteenth-century interpretations of Shakespeare. As Shakespeare was being established as the supreme British writer throughout the century, he was cited as justification for early Gothic writers’ fascination with the supernatural, their abandoning of literary “decorum,” and their fascination with otherness and extremes of every kind. This book addresses the gap for an up to date analysis of Shakespeare’s relation to the Gothic. An authority on the Gothic, E.J. Clery, has stated that “It would be impossible to overestimate the importance of Shakespeare as touchstone and inspiration for the terror mode, even if we feel the offspring are unworthy of their parent. Scratch the surface of any Gothic fiction and the debt to Shakespeare will be there.” This book therefore addresses Shakespeare’s importance to the Gothic tradition as a whole and also to particular, well-known and often studied Gothic works. It also considers the influence of the Gothic on Shakespeare, both in-print and on stage in eighteenth- and nineteenth-century Britain. The introductory chapter places the chapters within the historical development of both Shakespearean reception and Gothic Studies. The book is divided into three parts: 1) Gothic Appropriations of “Shakespeare”; 2) Rewriting Shakespearean Plays and Characters; 3) Shakespeare Before/After the Gothic.

Shakespeare and the Middle Ages

Stephen Holden, “An Arch-Evil Monarch, Updated to the 1930s,” New York Times, December 29, 1995. 104. Crowl, Shakespeare at the Cineplex, 117. 105. Peter S. Donaldson, “Cinema and the Kingdom of Death: Loncraine's Richard III, ...

Author: Martha W. Driver

Publisher: McFarland

ISBN: 9780786491650

Category: Literary Criticism

Page: 284

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Every generation reinvents Shakespeare for its own needs, imagining through its particular choices and emphases the Shakespeare that it values. The man himself was deeply involved in his own kind of historical reimagining. This collection of essays examines the playwright’s medieval sources and inspiration, and how they shaped his works. With a foreword by Michael Almereyda (director of the Hamlet starring Ethan Hawke) and dramaturge Dakin Matthews, these thirteen essays analyze the ways in which our modern understanding of medieval life has been influenced by our appreciation of Shakespeare’s plays.

Shakespeare Film Studies and the Visual Cultures of Modernity

“Wailing Woodwind Wild: The Noh Transcription of Shakespeare's Silent Sounds in Kurosawa's Ran. ... The Voice in the Cinema. ... Shakespeare's Players: A Look at Some of the Major Roles in Shakespeare and Those Who Have Played Them.

Author: A. Guneratne

Publisher: Springer

ISBN: 9780230613737

Category: Performing Arts

Page: 346

View: 694

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This book is the first in-depth cultural history of cinema's polyvalent and often contradictory appropriations of Shakespearean drama and performance traditions. The author argues that these adapatations have helped shape multiple aspects of film, from cinematic style to genre and narrative construction.

New Wave Shakespeare on Screen

Cartelli, Thomas (2002) “Shakespeare in Pain: Edward Bond's Lear and the Ghosts of History.” Shakespeare Survey 55: 159–69. ... Crowl, Samuel S. (2003) Shakespeare at the Cineplex: The Kenneth Branagh Era. Athens: Ohio University Press.

Author: Thomas Cartelli

Publisher: Polity

ISBN: 9780745633923

Category: Drama

Page: 201

View: 434

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The past fifteen years have witnessed a diverse group of experiments in ‘staging’ Shakespeare on film. New Wave Shakespeare on Screen introduces and applies the new analytic techniques and language that are required to make sense of this new wave. Drawing on developments in Shakespeare studies, performance studies, and media studies, the book integrates text-based and screen-based approaches in ways that will be accessible to teachers and students, as well as scholars. The study maps a critical vocabulary for interpreting Shakespeare film; addresses script-to-screen questions about authority and performativity; outlines varied approaches to adaptation such as revival, recycling, allusion, and sampling; parses sound as well as visual effects; and explores the cross-pollination between film and other media, from ancient to cutting-edge. New Wave Shakespeare on Screen emphasizes how rich the payoffs can be when Shakespeareans turn their attention to film adaptations as texts: aesthetically complex, historically situated, and as demanding in their own right as the playtexts they renovate. Works discussed include pop culture films like Billy Morrisette’s Scotland, PA; televised updatings like the ITV Othello; and art-house films such as Julie Taymor’s Titus, Al Pacino’s Looking for Richard, Michael Almereyda’s Hamlet, and Kristian Levering’s The King is Alive. These films reframe the playtexts according to a variety of extra-Shakespearean interests, inviting viewers back to them in fresh ways.