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Shakespearean Drama, Disability, and the Filmic Stare synthesizes Laura Mulvey's male gaze and Rosemarie Garland-Thomson's stare into a new critical lens, the filmic stare, in order to understand and analyze the visual construction of disability in adaptations of Shakespearean drama. The book explores the intersections of adaptation studies, film studies, Shakespeare studies, and disability studies to analyze twentieth and twenty-first century representations of both physical disability and 'madness' in global cinematic film, television film, and digital broadcast cinema in Shakespeare's works. Shakespearean Drama, Disability, and the Filmic Stare argues that the filmic stare does not differentiate between male and female characters with disabilities, or between powerful and powerless figures in disability representation. This multi-disciplinary volume is ideal for disability studies scholars, Shakespeare scholars, and those interested in adaptations of Shakespeare's famous works.
List of contents
List of Figures
Introduction
1 Staring, the Filmic Stare, and Theorizing Disability
2 Physical Disabilities and the Filmic Stare in Richard II and Titus Andronicus
3 Caliban and the Filmic Stare
4 Madness, the Filmic Stare, and Hamlet
5 Madness, the Filmic Stare, and Ophelia
6 Madness, the Filmic Stare, and Macbeth
7 The Filmic Stare and Digital Broadcast Cinema
Conclusion
Index
About the author
Grace McCarthy earned her PhD in English and Film Studies from Wilfrid Laurier University in 2020. Her research focuses on disability studies and Shakespeare studies. She has previously published in Early Modern Literary Studies on adaptation and Shakespeare. Grace was the recipient of a SSHRC and an OGS award in addition to the Award for Outstanding Work at the Graduate Level.
Summary
This volume synthesizes Laura Mulvey’s male gaze and Rosemarie Garland-Thomson’s stare into a new critical lens, the filmic stare, in order to understand and analyze the visual construction of disability in adaptations of Shakespearean drama.
