By Diana E. Henderson
This Concise better half offers a multidisciplinary diversity of methods to an enormous multimedia topic, Shakespeare on display.
The book’s members use the newest considering from cultural experiences, communications, and comparative media, in discussion with literary, theatrical, and filmic ways, for you to push the sector ahead. they give thought to Shakespeare on reveal not just as a collection of comprehensive items but additionally as a procedure. as a result, the quantity is equipped round subject matters akin to authorship and collaboration, theatricality, intercourse and violence, globalization, and heritage.
The Concise better half deals readers various obtainable routes into Shakespeare on monitor and helps additional research of the topic during the inclusion of a bibliography, a chronological chart, and a radical index. even as, it serves as a focus for exploring primary matters within the learn of literature and tradition extra commonly, reminiscent of the relationships among elite and pop culture, artwork and undefined, textual content, picture, and function.
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Extra resources for A Concise Companion to Shakespeare on Screen
While ﬁlmmakers and critics continue to invoke Shakespeare’s timelessness to “authorize” productions, the ﬁlms themselves represent a much less straightforward, parodic, and sometimes painful process. We could use these productions to explore the complex signiﬁcance of the sign “Shakespeare” further: he may read as subversive and/or conservative, queer and/or straight, timeless and/or time-bound, threatening and/or under threat, elite and/or popular. Clearly, the desire to “get back to the truth of Shakespeare” represented in much Shakespeare ﬁlm criticism is a desire that may be easily dismissed as stultifying and out of step with developments in both Shakespearean and ﬁlm scholarship.
In the context of this ﬁlm, however, such particularities are irrelevant. The words of the Poet/Author, regardless of context, are upheld as evidence of a time when words were more beautiful, more carefully 16 Getting Back to Shakespeare chosen. An African-American man on the street argues that Shakespeare’s words are more potent, considered, and emotionally “true” than the way people speak today: We should speak like Shakespeare. . We have no feelings. That’s why it’s easy for us to get a gun and shoot each other.
7 Elsie Walker Chapter 1 AUTHORSHIP Getting Back to Shakespeare: Whose Film is it Anyway? Elsie Walker Near the beginning of Looking for Richard (1996), Al Pacino prepares to deliver the famous ﬁrst speech from Shakespeare’s Richard III. Sporting an irreverent baseball cap, the actor/director walks onto an ornate, mock-Elizabethan indoor stage. The camera cuts to show where the audience would be and there is only one member, a man whose face and dress resemble the Chandos Shakespeare portrait. “Shakespeare” disparagingly shakes his head, at which point Pacino sighs, shrugs, and walks off the stage without uttering a word of the play.