A Concise Companion to Shakespeare on Screen (Concise by Diana E. Henderson

By Diana E. Henderson

This Concise spouse provides a multidisciplinary diversity of ways to an unlimited multimedia topic, Shakespeare on monitor. The book’s members use the newest pondering from cultural experiences, communications, and comparative media, in discussion with literary, theatrical, and filmic methods, so as to push the sector ahead. they think about Shakespeare on display not just as a collection of accomplished items but in addition as a procedure. consequently, the amount is prepared round subject matters corresponding to authorship and collaboration, theatricality, intercourse and violence, globalization, and background. The Concise spouse bargains readers numerous available routes into Shakespeare on display and helps additional learn of the topic throughout the inclusion of a bibliography, a chronological chart, and a radical index. while, it serves as a focus for exploring basic matters within the examine of literature and tradition extra commonly, akin to the relationships among elite and pop culture, paintings and undefined, textual content, photo, and function.

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Barthes, Roland (1977). Image/Music/Text, ed. and trans. Stephen Heath. London: Fontana. Belsey, Catherine (1980). Critical Practice. London and New York: Methuen. —— (1983). 3: 152–8. Bennett, Susan (1996). Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London and New York: Routledge. 28 Getting Back to Shakespeare Berlin, Normand (1977).

If we were taught to feel we wouldn’t be so violent. . If we . . have no feelings then we say things to each other that don’t mean anything. But if we felt what we said – we’d say less and mean more. Pacino and Kimball appear transfixed by this speech and agree emphatically (chiming in several times off-camera). The man then turns to ask a businessman for change, and the camera lingers for a moment before a cut. The poignancy of the moment, the revelation that the most impassioned speech comes from the mouth of a beggar, appears to confirm the filmmakers’ belief that Shakespeare speaks to everyone at the precise moment that Pacino’s quest is thrown into relief as luxurious.

Also, it suggests a similar problem to one identified in twentieth-century theatrical performance and criticism by W. B. Worthen: “the value of . . representation is measured not by the productive meanings it releases or puts into play, but by the ‘proximity’ it claims to some sense of authorized meaning, to something located in the text or, magically, in ‘Shakespeare’” (1997: 37–8). Ultimately, Kimball appears to assume that the truth of Shakespeare’s meanings can be found. Many filmmakers similarly “authorize” and market their productions in terms of “proximity” to a given Shakespearean work – the webpages for Titus Andronicus directed by Christopher Dunne are littered with grandiose claims about fidelity to the author’s original intentions (Titus 1998).

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