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Illuminating for students and researchers of Shakespeare, film and World War Two Britain alike, this book expertly draws on the theory and practice of adaptation and appropriation to demonstrate how the British cinema presented Shakespeare as both an emblem of national unity and a marker of internal division.
List of contents
1. 'Hamlet's a loser, Leslie!': Pimpernel Smith, Hamlet and film propaganda; 2. 'What we all have in common': Fires Were Started, Macbeth and the people's war; 3. The Black-White Gentleman: The Man in Grey, Othello and the melodrama of Anglo-West Indian relations; 4. 'Bottom's not a gangster!': A Matter of Life and Death, A Midsummer Night's Dream and post-war Anglo-American relations.
About the author
Garrett A. Sullivan, Jr., Liberal Arts Professor of English, teaches at Pennsylvania State University. He is author of The Drama of Landscape: Land, Property and Social Relations on the Early Modern Stage (1998), Memory and Forgetting in English Renaissance Drama: Shakespeare, Marlowe, Webster (Cambridge University Press, 2005), and Sleep, Romance and Human Embodiment: Vitality from Spenser to Milton (Cambridge University Press, 2012). With Mary Floyd-Wilson, he co-edited Environment and Embodiment in Early Modern England (2007) and The Geographies of Embodiment in Early Modern England (2020). He co-edits, with Julie Sanders, the book series Early Modern Literary Geographies. He is a past trustee of the Shakespeare Association of America.
Summary
Illuminating for students and researchers of Shakespeare, film and World War Two Britain alike, this book expertly draws on the theory and practice of adaptation and appropriation to demonstrate how the British cinema presented Shakespeare as both an emblem of national unity and a marker of internal division.
