The Cambridge Companion to Shakespeare on FilmRussell Jackson 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 3
... acting and the use of locations in the 1913 British Hamlet , with Sir Johnston Forbes - Robertson , offer a case in point . Perhaps the decisive moment in the development of Shakespeare films is reached when film - makers cease to rely ...
... acting and the use of locations in the 1913 British Hamlet , with Sir Johnston Forbes - Robertson , offer a case in point . Perhaps the decisive moment in the development of Shakespeare films is reached when film - makers cease to rely ...
Page 5
... actors of recognised ' classical ' theatre back- ground - seem indispensable for an acceptable degree of success ... actor remarked to me while working on a Shakespeare film , ' It's nice to know that no one in an office somewhere is ...
... actors of recognised ' classical ' theatre back- ground - seem indispensable for an acceptable degree of success ... actor remarked to me while working on a Shakespeare film , ' It's nice to know that no one in an office somewhere is ...
Page 7
... actors and producers ) , he or she is more likely to be constructing than deconstructing . It is in advertising that the Shakespeare film is likely to present itself most stri- dently in terms of the broadest attractions . Publicists ...
... actors and producers ) , he or she is more likely to be constructing than deconstructing . It is in advertising that the Shakespeare film is likely to present itself most stri- dently in terms of the broadest attractions . Publicists ...
Page 8
... actors and the scale of the production are usually the main selling points . Love interest ( or sex ) and action may be emphasised , and the film's director may even have to argue strongly for the exclusion of particular images or ...
... actors and the scale of the production are usually the main selling points . Love interest ( or sex ) and action may be emphasised , and the film's director may even have to argue strongly for the exclusion of particular images or ...
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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