February 10, 2018

Download e-book for kindle: A Concise Companion to Shakespeare on Screen (Concise by Diana E. Henderson

By Diana E. Henderson

ISBN-10: 1405115106

ISBN-13: 9781405115100

ISBN-10: 1405148888

ISBN-13: 9781405148887

This Concise significant other offers a multidisciplinary diversity of techniques to an unlimited multimedia topic, Shakespeare on display. The book’s individuals use the newest considering from cultural reports, communications, and comparative media, in discussion with literary, theatrical, and filmic ways, that allows you to push the sector ahead. they think about Shakespeare on display not just as a suite of entire items but in addition as a method. as a result, the amount is geared up round issues reminiscent of authorship and collaboration, theatricality, intercourse and violence, globalization, and background. The Concise spouse deals readers a number of available routes into Shakespeare on monitor and helps extra learn of the topic during the inclusion of a bibliography, a chronological chart, and a radical index. while, it serves as a focus for exploring basic concerns within the research of literature and tradition extra generally, comparable to the relationships among elite and pop culture, artwork and undefined, textual content, photo, and function.

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Extra resources for A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture)

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The mix of diverse filmic iconography newly illuminates the disconcerting mixture of tone in Titus Andronicus for a cine-literate audience. The explicit film quotations and allusions within Almereyda’s Hamlet also create generic confusion, problematizing any talk of originals or single sources, inviting plural readings. Hamlet’s own film (instead of play) is a montage of different film clips: The Mousetrap opens with a rose unfurling with time-lapse cinematography (as in Scorsese’s The Age of Innocence credit sequence), cuts to Golden Age television images of a boy with his parents, to “Monty Pythonesque” cartoon images of the ear poisoning, to porn clips, to a shot of an audience emphatically clapping, to various images of death.

Later, Vanessa Redgrave argues that in Shakespeare’s language everything – the aesthetic, intellectual, emotional, and personal – is integrated in a truthful whole: “the music and the thoughts and the concepts and the feelings have not been divorced from the words. ” In this film, “everyone” (from the penniless, African-American man to the distinguished, white actress) understands and defends the restorative power of Shakespeare’s language. They likewise argue that we have somehow lost touch with the power of that language which is necessary to our survival.

Frames questions of identification and definition in the Shakespeare film,” following Peter Donaldson’s precedent of locating meaning as “an aspect of the director’s subjective and personal experience” (Howlett 2000: 3, 6). Without discounting Donaldson’s scholarly contribution – he has, perhaps more than any other critic, demonstrated the psychological complexity and resonance of auteur-based readings – I suggest that such readings are inevitably limiting if taken as automatically most authoritative.

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A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture) by Diana E. Henderson

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