The Reel Shakespeare: Alternative Cinema and Theory

Lisa S. Starks, Courtney Lehmann
Fairleigh Dickinson Univ Press, 2002 - 298 páginas
This collection models an approach to Shakespeare and cinema that is concerned with the other side of Shakespeare's Hollywood celebrity, taking the reader on a practical and theoretical tour through important, non-mainstream films and the oppositional messages they convey. The collection includes essays on early silent adaptations of 'Hamlet', Greenway's 'Prospero's Books', Godard's 'King Lear', Hall's 'A Midsummer Night's Dream', Taymor's 'Titus', Polanski's 'Macbeth', Welles 'Chimes at Midnight', and Van Sant's 'My Own Private Idaho'.

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Reinventing the Prince on Celluloid
Modernism and Patriarchy in Peter Halls 𝑨 𝑴𝒊𝒅𝒔𝒖𝒎𝒎𝒆𝒓 𝑵𝒊𝒈𝒉𝒕𝒔 𝑫𝒓𝒆𝒂𝒎
Voice and Gaze in JeanLuc Godards 𝑲𝒊𝒏𝒈 𝑳𝒆𝒂𝒓
The Incorporation of Word as Image in Peter Greenaways 𝑷𝒓𝒐𝒔𝒑𝒆𝒓𝒐𝒔 𝑩𝒐𝒐𝒌𝒔
Powers of Horror in Julie Taymors 𝑇𝒊𝒕𝒖𝒔
Mediating Witchcraft in Polanski and Shakespeare
Orson Welless 𝑪𝒉𝒊𝒎𝒆𝒔 𝒂𝒕 𝑴𝒊𝒅𝒏𝒊𝒈𝒉𝒕 and Gus Van Sants 𝑴𝒚 𝑶𝒘𝒏 𝑷𝒓𝒊𝒗𝒂𝒕𝒆 𝑰𝒅𝒂𝒉𝒐
Close Encounters in the Shakespearean Classroom
Teaching against Shakespeares Author Function
A Selective Bibliography of Criticism
Notes on Contributors
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Página 26 - To be, or not to be; that is the bare bodkin That makes calamity of so long life; For who would fardels bear, till Birnam Wood do come to Dunsinane, But that the fear of something after death Murders the innocent sleep, Great nature's second course, And makes us rather sling the arrows of outrageous fortune Than fly to others that we know not of.
Página 9 - And so art is everywhere, since artifice is at the very heart of reality . And so art is dead, not only because its critical transcendence is gone, but because reality itself, entirely impregnated by an aesthetic which is inseparable from its own structure, has been confused with its own image.

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