Shakespeare, Film Studies, and the Visual Cultures of Modernity
This book is the first in-depth cultural history of cinema's polyvalent and often contradictory appropriations of Shakespearean drama and performance traditions. The author argues that these adapatations have helped shape multiple aspects of film, from ci
- PDF / 4,585,019 Bytes
- 367 Pages / 430.866 x 649.134 pts Page_size
- 111 Downloads / 218 Views
SHAKESPEARE, FILM STUDIES, AND THE VISUAL CULTURES OF MODERNITY ANTHONY R. GUNERATNE
SHAKESPEARE, FILM STUDIES, AND THE VISUAL CULTURES OF MODERNITY
Copyright © Anthony R. Guneratne, 2008. Softcover reprint of the hardcover 1st edition 2008 978-1-4039-6788-6 All rights reserved. First published in 2008 by PALGRAVE MACMILLAN® in the US—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-73413-9 DOI 10.1057/9780230613737
ISBN 978-0-230-61373-7 (eBook)
Library of Congress Cataloging-in-Publication Data Guneratne, Anthony R. Shakespeare, film studies, and the visual cultures of modernity / by Anthony R. Guneratne. p. cm. 1. Shakespeare, William, 1564–1616—Film and video adaptations. 2. Film adaptations—History and criticism. 3. Motion pictures—History. I. Title. PR3093.G86 2008 791.43⬘6—dc22 A catalogue record of the book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India. First edition: August 2008 10 9 8 7 6 5 4 3 2 1 Transferred to Digital Printing 2009
2007036160
For my dear mother, Bernadette, who kept all her promises but the last, and failed in that only because Death could not await this book’s birth. When wasteful war shall statues overturn, And broils root out the work of masonry, Nor Mars his sword nor war’s quick fire shall burn The living record of your memory.
We can say that neither Shakespeare nor his contemporaries knew that “great Shakespeare” whom we know now. There is no possibility of squeezing our Shakespeare into the Elizabethan epoch . . . He has grown because of that which actually has been and continues to be found in his work, but which neither he himself nor his contemporaries could consciously perceive and evaluate in the context of the culture of their epoch. M.M. Bakhtin (1970)
CON T E N T S
List of Illustrations
xi
Acknowledgments
xiii
Preface
xix
What’s in a Name? Or, Something like an Introduction One Two Three
Four Five
1
Reconstituting King John: Victorian Theatrical Photorealism and the Protocinema of Adaptation
75
Featuring the Bard: Frederick Warde’s Shakespeare and the Transformation of American Cinema
95
The Exfoliating Folio, or Transnational and International Avant-Gardes from Bernhardt’s Hamlets to Hollywood’s Europeans
115
Genre, Style, and the Politique des Auteurs: Orson Welles versus “William Shakespeare”
173
Six Authors in Search of a Text: The Shakespeares of Van Sant, Branagh, Godard, Pasolini, Greenaway, and Luhrmann
211
Notes
251
Works Cited
293
Index
311
Data Loading...
