Description : Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films' socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare's "words, words, words" into film's particular grammar and rhetoric
Description : Following his extraordinary popular success with Henry V and Much Ado About Nothing, Branagh has brought to the screen the complete full-length version of Shakespeare's greatest play, in a fabulous 19th century setting.
Description : Hamlet has inspired four outstanding film adaptations that continue to delighta wide and varied audience and to offer provocative new interpretationsof Shakespeare’s most popular play. Cinematic Hamlet contains the first scene-by-scene analysis of the methods used by Laurence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda to translate Hamlet into highly distinctive and remarkably effective films. Applying recent developments in neuroscience and psychology,Patrick J. Cook argues that film is a medium deploying an abundance of devices whose task it is to direct attention away from the film’s viewing processes and toward the objectrepresented. Through careful analysis of each film’s devices,he explores the ways in which four brilliant directors rework the play into a radically different medium, engaging the viewer through powerful instinctive drives and creating audiovisual vehicles that support and complement Shakespeare’swords and story. Cinematic Hamlet will prove to be indispensable foranyone wishing to understand how these films rework Shakespeare into the powerful medium of film.
Description : The past fifteen years have witnessed a diverse group of experiments in ‘staging’ Shakespeare on film. New Wave Shakespeare on Screen introduces and applies the new analytic techniques and language that are required to make sense of this new wave. Drawing on developments in Shakespeare studies, performance studies, and media studies, the book integrates text-based and screen-based approaches in ways that will be accessible to teachers and students, as well as scholars. The study maps a critical vocabulary for interpreting Shakespeare film; addresses script-to-screen questions about authority and performativity; outlines varied approaches to adaptation such as revival, recycling, allusion, and sampling; parses sound as well as visual effects; and explores the cross-pollination between film and other media, from ancient to cutting-edge. New Wave Shakespeare on Screen emphasizes how rich the payoffs can be when Shakespeareans turn their attention to film adaptations as texts: aesthetically complex, historically situated, and as demanding in their own right as the playtexts they renovate. Works discussed include pop culture films like Billy Morrisette’s Scotland, PA; televised updatings like the ITV Othello; and art-house films such as Julie Taymor’s Titus, Al Pacino’s Looking for Richard, Michael Almereyda’s Hamlet, and Kristian Levering’s The King is Alive. These films reframe the playtexts according to a variety of extra-Shakespearean interests, inviting viewers back to them in fresh ways.
Description : This book is a study of Grigory Kozintsev’s two cinematic Shakespeare adaptations, Hamlet (Gamlet, 1964), and King Lear (Korol Lir, 1970). The films are considered in relation to the historical, artistic and cultural contexts in which they appear, and in relation to the contributions of Dmitri Shostakovich, who wrote the films’ scores; and Boris Pasternak, whose translations Kozintsev used. The films are analyzed respective to their place in the translation and performance history of Hamlet and King Lear from their first appearances in Tsarist Russian arts and letters. In particular, this study is concerned with the ways in which these plays have been used as a means to critique the government and the country's problems in an age in which official censorship was commonplace. Kozintsev’s films (as well as his theatrical productions of Hamlet and Lear) continue along this trajectory of protest by providing a vehicle for him and his collaborators to address the oppression, violence and corruption of Soviet society. It was just this sort of covert political protest that finally effected the dissolution and fall of the USSR.
Description : Combining three key essays from the earlier collection with exciting new work from leading contributors, this text offers sixteen fascinating essays. It is quite simply a must-read for any student of Shakespeare, film or cultural studies.
Description : How is a Shakespearean play transformed when it is directed for the screen? In this 2004 book, Sarah Hatchuel uses literary criticism, narratology, performance history, psychoanalysis and semiotics to analyse how the plays are fundamentally altered in their screen versions. She identifies distinct strategies chosen by film directors to appropriate the plays. Instead of providing just play-by-play or film-by-film analyses, the book addresses the main issues of theatre/film aesthetics, making such theories and concepts accessible before applying them to practical cases. Her book also offers guidelines for the study of sequences in Shakespearean adaptations and includes examples from all the major films from the 1899 King John, through the adaptations by Olivier, Welles and Branagh, to Taymor's 2000 Titus and beyond. This book is aimed at scholars, teachers and students of Shakespeare and film studies, providing a clear and logical apparatus with which to examine Shakespearean screen adaptations.