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This collection of contemporary criticism highlights the extent to which recent discussion of Shakespeare on film has drawn upon the theoretical perspectives of Marxism, feminism, psychoanalysis and post-structuralism, generating a radical reappraisal of a Shakespearean cinema which has itself experienced a revival in the last decade. Ranging widely across the canon of Shakespeare films, from Max Reinhardt's A Midsummer Night's Dream to Peter Greenaway's Prospero's Books, the essays address the cultural politics of film adaptation from a variety of angles, offering readings of individual films - Hamlet, Henry V, The Tempest - but also raising larger questions about the nature, purpose and future direction of Shakespearean cinema.
Inhaltsverzeichnis
Acknowledgements
General Editor's Preface
Introduction; R.Shaughnessy
Realising Shakespeare on Film; J.J.Jorgens
Laurence Olivier's Henry V; A.Davies
Shakespeare and Film: A Question of Perspective; C.Belsey
Radical Potentiality and Institutional Closure; G.Holderness
Symbolism in Shakespeare Film; J.Collick
Olivier, Hamlet and Freud; P.S.Donaldson
Branagh and the Prince, or a 'royal fellowship of death'; C.Breight
A Post-National European Cinema: A Consideration of Derek Jarman's The Tempest and Edward II; C.MacCabe
Katherina Bound; or Play(K)ating the Strictures of Everyday Life; B.Hodgdon
Drowning the Book: Prospero's Books and the Textual Shakespeare; D.Lanier
Further Reading
Notes on Contributors
Index.
Über den Autor / die Autorin
Robert Shaughnessy is Professor of Theatre at the Guilford School of Acting, University of Surrey, UK.
