By Diana E. Henderson
This Concise significant other provides a multidisciplinary variety of methods to an enormous multimedia topic, Shakespeare on monitor. The book’s members use the most recent pondering from cultural reviews, communications, and comparative media, in discussion with literary, theatrical, and filmic methods, in an effort to push the sector ahead. they think about Shakespeare on reveal not just as a suite of comprehensive items but in addition as a strategy. for that reason, the quantity is prepared round issues comparable to authorship and collaboration, theatricality, intercourse and violence, globalization, and background. The Concise significant other deals readers a number of obtainable routes into Shakespeare on reveal and helps additional research of the topic in the course of the inclusion of a bibliography, a chronological chart, and an intensive index. whilst, it serves as a focus for exploring primary matters within the examine of literature and tradition extra greatly, equivalent to the relationships among elite and pop culture, paintings and undefined, textual content, picture, and function.
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Extra resources for A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture)
Anderson, Jeffrey M. (2000). shtml. 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).
Belsey claims that the ﬁlm medium is inherently conservative because the cinematic frame, like the nineteenthcentury proscenium arch stage, reduces the multiplicity of potential meanings to a single, uniﬁed point of view which is imposed on the passive viewer. Whereas the Shakespearean text is “interrogative,” 11 Elsie Walker full of questions, representative of and subject to multiple perspectives, the Shakespearean ﬁlm is a “classic realist” text which presents uniﬁed, selective, and limiting meanings to an audience without permitting interpretive ﬂexibility (Belsey 1983: 155–6).
The implicit assumption is that Shakespeare is a precursor of Andrew Sarris’ auteur ﬁgure – “the ﬁlm artist who, through the force of his powerful personality and aesthetic preoccupations, is able to overcome all barriers to the expression of his vision” (Lehmann 2001: 62). My goal is not to provide a comprehensive survey of critical debates, but to illustrate that problems of ﬁdelity remain: the desire and sense that it might be possible to “get back to Shakespeare,” to represent his work authoritatively, persists.