In severing Shakespearefrom early modern contexts by materiallyreinscribing space, the cinema foregrounds the untimely futuresbroached inhis marginality. Lacan'stheory of desire (désir),andnotion of the roleof the signifierin desire, ...
Author: S. Ryle
Publisher: Springer
ISBN: 9781137332066
Category: Literary Criticism
Page: 253
View: 994
Shakespeare, Cinema and Desire explores the desires and the futures of Shakespeare's language and cinematographic adaptations of Shakespeare. Tracing ways that film offers us a rich new understanding of Shakespeare, it highlights issues such as media technology, mourning, loss, the voice, narrative territories and flows, sexuality and gender.
A History of Shakespeare on Screen: a Century of Film and Television. Cambridge and New York: Cambridge UP, 1999. Ryle, Simon. Shakespeare, Cinema and Desire: Adaptation and Other Futures of Shakespeare's Language.
Author: Eric S. Mallin
Publisher: Springer Nature
ISBN: 9783030288983
Category: Literary Criticism
Page: 254
View: 486
Reading Shakespeare in the Movies: Non-Adaptations and Their Meaning analyzes the unacknowledged, covert presence of Shakespearean themes, structures, characters, and symbolism in selected films. Writers and directors who forge an unconscious, unintentional connection to Shakespeare’s work create non-adaptations, cinema that is unexpectedly similar to certain Shakespeare plays while remaining independent as art. These films can illuminate core semantic issues in those plays in ways that direct adaptations cannot. Eric S. Mallin explores how Shakespeare illuminates these movies, analyzing the ways that The Godfather, Memento, Titanic, Birdman, and The Texas Chainsaw Massacre take on new life in dialogue with the famous playwright. In addition to challenging our ideas about adaptation, Mallin works to inspire new awareness of the meanings of Shakespearean stories in the contemporary world.
Shakespeare, Cinema and Desire explores the desires and the futures of Shakespeare's language and cinematographic adaptations of Shakespeare.
Author: S. Ryle
Publisher: Palgrave Macmillan
ISBN: 1349461547
Category: Literary Criticism
Page: 253
View: 344
Shakespeare, Cinema and Desire explores the desires and the futures of Shakespeare's language and cinematographic adaptations of Shakespeare. Tracing ways that film offers us a rich new understanding of Shakespeare, it highlights issues such as media technology, mourning, loss, the voice, narrative territories and flows, sexuality and gender.
Author: Ailsa Grant FergusonPublish On: 2016-06-23
the embodiment of the Shakespearean textbody, can only be untouchable, unreal and fragmented. ... For many gay spectators, however, the film permits the construction and stabilization of scenarios of homosexual desire in spite of their ...
Author: Ailsa Grant Ferguson
Publisher: Routledge
ISBN: 9781135041847
Category: Literary Criticism
Page: 200
View: 972
Addressing for the first time Shakespeare’s place in counter-cultural cinema, this book examines and theorizes counter-hegemonic, postmodern, and post-punk Shakespeare in late 20th and early 21st century film. Drawing on a diverse range of case studies, Grant Ferguson presents an interdisciplinary approach that offers new theories on the nature and application of Shakespearean appropriations in the light of postmodern modes of representation. The book considers the nature of the Shakespearean inter-text in subcultural political contexts concerning the politicized aesthetics of a Shakespearean ‘body in pieces,’ the carnivalesque, and notions of Shakespeare as counter-hegemonic weapon or source of empowerment. Representative films use Shakespeare (and his accompanying cultural capital) to challenge notions of capitalist globalization, dominant socio-cultural ideologies, and hegemonic modes of expression. In response to a post-modern culture saturated with logos and semiotic abbreviations, many such films play with the emblematic imagery and references of Shakespeare’s texts. These curious appropriations have much to reveal about the elusive nature of intertextuality in late postmodern culture and the battle for cultural ownership of Shakespeare. As there has yet to be a study that isolates and theorizes modes of Shakespearean production that specifically demonstrate resistance to the social, political, ideological, aesthetic, and cinematic norms of the Western world, this book expands the dialogue around such texts and interprets their patterns of appropriation, adaptation, and representation of Shakespeare.
Film and Television Adaptations in the Twenty-First Century Magdalena Cieślak. Rackin, Phyllis. 1987. ... “Medium-Specificity and Other Critical Scripts for Screen Shakespeare. ... Shakespeare, Cinema and Desire.
Author: Magdalena Cieślak
Publisher: Rowman & Littlefield
ISBN: 9781498563758
Category: Literary Criticism
Page: 294
View: 512
This book analyzes how twenty-first century film and television adaptations of Shakespeare's comedies interpret gender-related concepts of their source texts. Examining the negotiations between early modern and contemporary gender politics, Cieślak identifies the main strategies of accommodating early modern gender constructs for today’s audiences.
I begin with the commonplace of Shakespeare as filmmaker because it articulates a persistent desire of filmmakers and ... adesiresomehow to appropriateShakespeare's accruedcultural authority for the institution of the cinema, a desire ...
Author: Deborah Cartmell
Publisher: Cambridge University Press
ISBN: 9780521614863
Category: Literary Criticism
Page: 273
View: 310
A collection of essays covering many different aspects of literature on screen.
Shakespeare, Cinema and Desire: Adaptation and Other Futures of Shakespeare's Language. Basingstoke: Palgrave. Shakespeare, William. [1623] 2011. The Arden Shakespeare Complete Works. Edited by Richard Proudfoot, Ann Thompson, ...
Author: John Lee
Publisher: John Wiley & Sons
ISBN: 9781118458778
Category: Literary Criticism
Page: 464
View: 557
Provides a detailed map of contemporary critical theory in Renaissance and Early Modern English literary studies beyond Shakespeare A Handbook of English Renaissance Literary Studies is a groundbreaking guide to the contemporary engagement with critical theory within the larger disciplinary area of Renaissance and Early Modern studies. Comprising commissioned contributions from leading international scholars, it provides an overview of literary theory, beyond Shakespeare, focusing on most major figures, as well as some lesser-known writers of the period. This book represents an important first step in bridging the divide between the abundance of titles which explore applications of theory in Shakespeare studies, and the relative lack of such texts concerning English Literary Renaissance studies as a whole, which includes major figures such as Marlowe, Jonson, Donne, and Milton. The tripartite structure offers a map of the critical landscape so that students can appreciate the breadth of the work being done, along with an exploration of the ways in which the treatments of or approaches to key issues have changed over time. Handbook of English Renaissance Literary Studies is must-reading for undergraduate and postgraduate students of early modern and Renaissance English literature, as well as their instructors and advisors. Divided into three main sections, “Conditions of Subjectivity,” “Spaces, Places, and Forms,” and “Practices and Theories,” A Handbook of English Renaissance Literary Studies: Provides an overview of theoretical work and the theoretical-informed competencies which are central to the teaching of English Renaissance literary studies beyond Shakespeare Provides a map of the critical landscape of the field to provide students with an opportunity to appreciate the breadth of the work done Features newly-commissioned essays in representative subject areas to offer a clear picture of the contemporary theoretically-engaged work in the field Explores the ways in which the treatments of or approaches to key issues have changed over time Offers examples of the ways in which the practice of a theoretically-engaged criticism may enrich the personal and professional lives of critics, and the culture in which such critical practice takes place
“King Lear and Film Space: Something from Nothing.” In Shakespeare, Cinema and Desire: Adaptation and Other Futures of Shakespeare's Language, pp. 36–84. New York: Palgrave Macmillan, 2014. Rather than focusing on the “political [and] ...
Author: William Shakespeare
Publisher: Simon and Schuster
ISBN: 9781501118111
Category: Drama
Page: 400
View: 626
Shakespeare’s King Lear challenges us with the magnitude, intensity, and sheer duration of the pain that it represents. Its figures harden their hearts, engage in violence, or try to alleviate the suffering of others. Lear himself rages until his sanity cracks. What, then, keeps bringing us back to King Lear? For all the force of its language, King Lear is almost equally powerful when translated, suggesting that it is the story, in large part, that draws us to the play. The play tells us about families struggling between greed and cruelty, on the one hand, and support and consolation, on the other. Emotions are extreme, magnified to gigantic proportions. We also see old age portrayed in all its vulnerability, pride, and, perhaps, wisdom—one reason this most devastating of Shakespeare’s tragedies is also perhaps his most moving. The authoritative edition of King Lear from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes: -Freshly edited text based on the best early printed version of the play -Full explanatory notes conveniently placed on pages facing the text of the play -Scene-by-scene plot summaries -A key to the play’s famous lines and phrases -An introduction to reading Shakespeare’s language -An essay by a leading Shakespeare scholar providing a modern perspective on the play -Fresh images from the Folger Shakespeare Library’s vast holdings of rare books -An annotated guide to further reading Essay by Susan Snyder The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
And isn't this, after all, what "the desire called cinema" is all about—the para-doxical yearning for presence which, ultimately, can only be realized through absence? Though no adaptation of Shakespeare has a credit sequence reading ...
Author: Courtney Lehmann
Publisher: Cornell University Press
ISBN: 9781501727597
Category: Literary Criticism
Page: 288
View: 133
No literary figure has proved so elusive as Shakespeare. How, Courtney Lehmann asks, can the controversies surrounding the Bard's authorship be resolved when his works precede the historical birth of that modern concept? And how is it that Shakespeare remains such a powerful presence today, years after poststructuralists hailed the "death of the author"? In her cogent book, Lehmann reexamines these issues through a new lens: film theory. An alternative to literary models that either minimize or exalt the writer's creative role, film theory, in Lehmann's view, perceives authorship as a site of constitutive conflict, generating in the process the notion of the auteur. From this perspective, she offers close readings of Romeo and Juliet, A Midsummer Night's Dream, and Hamlet, of film adaptations by Kenneth Branagh, Baz Luhrmann, and Michael Almereyda, and of John Madden's Shakespeare in Love. In their respective historical contexts, these plays and films emerge as allegories of authorship, exploiting such strategies as appropriation, adaptation, projection, and montage. Lehmann explores the significance of this struggle for agency, both in Shakespeare's time and in the present day, in the cultures of early and late capitalism. By projecting film theory from the postmodern to the early modern and back again, Lehmann demonstrates the ways in which Shakespeare emerges as a special effect—indeed, as an auteur—in two cultures wherein authors fear to tread.