By Diana E. Henderson
This Concise spouse provides a multidisciplinary diversity of ways to an enormous multimedia topic, Shakespeare on reveal. The book’s members use the newest pondering from cultural stories, communications, and comparative media, in discussion with literary, theatrical, and filmic techniques, in an effort to push the sphere ahead. they give thought to Shakespeare on reveal not just as a suite of complete items but additionally as a procedure. accordingly, the quantity is geared up round themes equivalent to authorship and collaboration, theatricality, intercourse and violence, globalization, and background. The Concise spouse deals readers various available routes into Shakespeare on display and helps extra research of the topic throughout the inclusion of a bibliography, a chronological chart, and an intensive index. whilst, it serves as a focus for exploring primary matters within the learn of literature and tradition extra commonly, resembling the relationships among elite and pop culture, artwork and undefined, textual content, photograph, and function.
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Additional resources for A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture)
How should we regard the recent shift in critical emphasis to mainstream or stylistically “popular” ﬁlms (versus, say, the arthouse emphasis apparent in three notable Tempest ﬁlms by Derek Jarman, Paul Mazursky, and Peter Greenaway, ﬁlms that received more scholarly attention a decade ago)? Is this a matter of temporal currency; the pressure of the Next Big Thing; shifting politics or tastes among scholars; and/or a sign of fundamental change in the phenomena under discussion? Is it “conservative” politically to conserve formal dimensions of what has been valued in “high” arts during the past 200 years, or to value aesthetic complexity?
The more you discard the better. I always regard half the text of any play, of even the most immortal and classic work of genius, as a diffused remark that the author wrote in order to acquaint actors as thoroughly as possible with the heart of the action to be played. . Dispose of the text with complete freedom; it is your right” (Kozintsev 1967: 214–15). Akira Kurosawa did not even attempt to translate Shakespeare’s language “straight” into Japanese, but used his understanding of the plays’ overall structure and thematic concerns as a template for his screenplays (see DAWSON).
Should we try to discern the different aims of the many participants in a production? How should we regard the recent shift in critical emphasis to mainstream or stylistically “popular” ﬁlms (versus, say, the arthouse emphasis apparent in three notable Tempest ﬁlms by Derek Jarman, Paul Mazursky, and Peter Greenaway, ﬁlms that received more scholarly attention a decade ago)? Is this a matter of temporal currency; the pressure of the Next Big Thing; shifting politics or tastes among scholars; and/or a sign of fundamental change in the phenomena under discussion?