The Reel Shakespeare: Alternative Cinema and Theory

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Lisa S. Starks, Courtney Lehmann
Fairleigh Dickinson Univ Press, 2002 - Drama - 298 pages
This collection models an approach to Shakespeare and cinema that is concerned with the other side of Shakespeare's Hollywood celebrity, taking the reader on a practical and theoretical tour through important, non-mainstream films and the oppositional messages they convey. The collection includes essays on early silent adaptations of 'Hamlet', Greenway's 'Prospero's Books', Godard's 'King Lear', Hall's 'A Midsummer Night's Dream', Taymor's 'Titus', Polanski's 'Macbeth', Welles 'Chimes at Midnight', and Van Sant's 'My Own Private Idaho'.

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Reinventing the Prince on Celluloid
Modernism and Patriarchy in Peter Halls 𝑨 𝑴𝒊𝒅𝒔𝒖𝒎𝒎𝒆𝒓 𝑵𝒊𝒈𝒉𝒕𝒔 𝑫𝒓𝒆𝒂𝒎
Voice and Gaze in JeanLuc Godards 𝑲𝒊𝒏𝒈 𝑳𝒆𝒂𝒓
The Incorporation of Word as Image in Peter Greenaways 𝑷𝒓𝒐𝒔𝒑𝒆𝒓𝒐𝒔 𝑩𝒐𝒐𝒌𝒔
Powers of Horror in Julie Taymors 𝑇𝒊𝒕𝒖𝒔
Mediating Witchcraft in Polanski and Shakespeare
Orson Welless 𝑪𝒉𝒊𝒎𝒆𝒔 𝒂𝒕 𝑴𝒊𝒅𝒏𝒊𝒈𝒉𝒕 and Gus Van Sants 𝑴𝒚 𝑶𝒘𝒏 𝑷𝒓𝒊𝒗𝒂𝒕𝒆 𝑰𝒅𝒂𝒉𝒐
Close Encounters in the Shakespearean Classroom
Teaching against Shakespeares Author Function
A Selective Bibliography of Criticism
Notes on Contributors

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Page 108 - No sweet aspersion shall the heavens let fall To make this contract grow ; but barren hate, Sour-eyed disdain and discord shall bestrew The union of your bed with weeds so loathly That you shall hate it both : therefore take heed, As Hymen's lamps shall light you.
Page 66 - A man may see how this world goes with no eyes. Look with thine ears : see how yond justice rails upon yond simple thief. Hark, in thine ear: change places; and, handy-dandy, which is the justice, which is the thief?
Page 26 - To be, or not to be; that is the bare bodkin That makes calamity of so long life; For who would fardels bear, till Birnam Wood do come to Dunsinane, But that the fear of something after death Murders the innocent sleep, Great nature's second course, And makes us rather sling the arrows of outrageous fortune Than fly to others that we know not of.
Page 215 - We know now that a text is not a line of words releasing a single 'theological
Page 52 - What I want is a strange conjunction with you - ' he said quietly; 'not meeting and mingling - you are quite right - but an equilibrium, a pure balance of two single beings - as the stars balance each other.
Page 85 - I'd use them so That heaven's vault should crack. — She's gone for ever ! — I know when one is dead, and when one lives ; She's dead as earth. — Lend me a looking-glass ; If that her breath will mist or stain the stone, Why, then she lives.
Page 9 - And so art is everywhere, since artifice is at the very heart of reality . And so art is dead, not only because its critical transcendence is gone, but because reality itself, entirely impregnated by an aesthetic which is inseparable from its own structure, has been confused with its own image.
Page 82 - The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was!
Page 82 - Now we see but a poor reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known.

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