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Small-Screen Shakespeare is a guide to all the Shakespeare productions available for viewing on computer or TV. From Beerbohm Tree’s silent scene from King John, to Helen Mirren as Prospera and Simon Russell Beale as Falstaff, Peter Cochran gives an expert opinion on the best and the worst, basing his judgements on a lifetime of viewing, teaching, acting and directing. The book covers films, television productions, plays on YouTube, and DVDs of videoed stage productions, as well as cinematic Shakespearean spin-offs such as Throne of Blood and Joe Macbeth. The book is composed of five sections: one on film directors who have specialised in Shakespeare; one on screen versions of individual plays; one on films remaking Shakespeare’s plots in a different idiom; one on films which contain creative references to Shakespeare; and a final review of two famous stage productions.
This Companion offers a multi-disciplinary approach to literature on film and television. Writers are drawn from different backgrounds to consider broad topics, such as the issue of adaptation from novels and plays to the screen, canonical and popular literature, fantasy, genre and adaptations for children. There are also case studies, such as Shakespeare, Jane Austen, the nineteenth-century novel and modernism, which allow the reader to place adaptations of the work of writers within a wider context. An interview with Andrew Davies, whose work includes Pride and Prejudice (1995) and Bleak House (2005), reveals the practical choices and challenges that face the professional writer and adaptor. The Companion as a whole provides an extensive survey of an increasingly popular field of study.
This book applies the videocassette to the study of Shakespeare on television and film. The result is that the films become texts, and Shakespeare in performance can be examined with the scholarly care that has been reserved for printed books.
An approachable guide to Shakespeare on film, this book establishes the differences between stage and screen. It covers the history of Shakespeare on the screen since 1899, and discusses various modes and conventions of adaptations. Thoroughly updated to include the most recent films, for instance Joss Whedon's 2013 Much Ado About Nothing, it also explores the latest technology, such as DVD and Blu-ray, as well as live stage-to-screen productions. It also includes an exclusive interview with filmmaker John Wyver, discussing his own adaptations for the small screen.
No theatre company has been involved in such a broad range of adaptations for television and cinema as the Royal Shakespeare Company. Starting with Richard III filmed in the Shakespeare Memorial Theatre before World War One, the RSC's accomplishments continue today with highly successful live cinema broadcasts. The Wars of the Roses (BBC, 1965), Peter Brook's film of King Lear (1971), Channel 4's epic version of Nicholas Nickleby (1982) and Hamlet with David Tennant (BBC, 2009) are among their most iconic adaptations. Many other RSC productions live on as extracts in documentaries, as archival recordings, in trailers and in other fragmentary forms. Screening the Royal Shakespeare Company explores this remarkable history of collaborations between stage and screen and considers key questions about adaptation that concern all those involved in theatre, film and television. John Wyver is a broadcasting historian and the producer of RSC Live from Stratford-upon-Avon, and is uniquely well-placed to provide a vivid account of the company's television and film productions. He contributes an award-winning practitioner's insight into screen adaptation's numerous challenges and rich potential.
Towards the end of the 1980s it looked as if television had displaced cinema as the photographic medium for bringing Shakespeare to the modern audience. In recent years there has been a renaissance of Shakespearian cinema, including Kenneth Branagh's Henry V and Much Ado About Nothing, Franco Zeffirelli's Hamlet, Peter Greenaway's Prospero's Books and Christine Edzard's As You Like It. In this volume a range of writers study the best known and most entertaining film, television and video versions of Shakespeare's plays. Particular attention is given to the work of Olivier, Zeffirelli and Kurosawa, and to the BBC Television series. In addition the volume includes a survey of previous scholarship and an invaluable filmography.
This Companion explores the remarkable variety of forms that Shakespeare's life and works have taken over the course of four centuries, ranging from the early modern theatrical marketplace to the age of mass media, and including stage and screen performance, music and the visual arts, the television serial and popular prose fiction. The book asks what happens when Shakespeare is popularized, and when the popular is Shakespeareanized; it queries the factors that determine the definitions of and boundaries between the legitimate and illegitimate, the canonical and the authorized and the subversive, the oppositional, the scandalous and the inane. Leading scholars discuss the ways in which the plays and poems of Shakespeare, as well as Shakespeare himself, have been interpreted and reinvented, adapted and parodied, transposed into other media, and act as a source of inspiration for writers, performers, artists and film-makers worldwide.
Following on from the phenomenally successful Shakespeare, The Movie, this volume brings together an invaluable new collection of essays on cinematic Shakespeares in the 1990s and beyond. Shakespeare, The Movie II: *focuses for the first time on the impact of postcolonialism, globalization and digital film on recent adaptations of Shakespeare; *takes in not only American and British films but also adaptations of Shakespeare in Europe and in the Asian diapora; *explores a wide range of film, television, video and DVD adaptations from Almereyda's Hamlet to animated tales, via Baz Luhrmann, Kenneth Branagh, and 1990s' Macbeths, to name but a few; *offers fresh insight into the issues surrounding Shakespeare on film, such as the interplay between originals and adaptations, the appropriations of popular culture, the question of spectatorship, and the impact of popularization on the canonical status of "the Bard." Combining three key essays from the earlier collection with exciting new work from leading contributors, Shakespeare, The Movie II offers sixteen fascinating essays. It is quite simply a must-read for any student of Shakespeare, film, media or cultural studies.
Slings & Arrows, starring Susan Coyne, Paul Gross, Don McKellar, and Mark McKinney as members of the New Burbage Theatre Festival, was heralded by television critics as one of the best shows ever produced and one of the finest depictions of life in classical theatre. Shakespeare scholars, however, have been ambivalent about the series, at times even hostile. In Shakespeare and the World of “Slings & Arrows” Gary Kuchar situates the three-season series in its cultural and intellectual contexts. More than a roman à clef about Canada’s Stratford Festival, he shows, it is a privileged window onto major debates within Shakespeare studies and a drama that raises vital questions about the role of the arts in society. Kuchar reads the television show – ever fluctuating between faith and doubt in the power of drama – as an allegory of Peter Brook’s widely renowned account of modern theatre, The Empty Space, mirroring Brook’s distinction between holy theatre, a quasi-sacred vocation, and deadly theatre, a momentary entertainment. Combining contextualized interpretations of the series with subtle formalist readings, Kuchar explains how Slings & Arrows participates in a broader recuperation of humanist approaches to Shakespeare in contemporary scholarship. The result is a demonstration of how and why Shakespeare continues to provide not just entertainment, but equipment for living.
Cognitive approaches to drama have enriched our understanding of Early Modern playtexts, acting and spectatorship. This monograph is the first full-length study of Shakespeare’s props and their cognitive impact. Shakespeare’s most iconic props have become transhistorical, transnational metonyms for their plays: a strawberry-spotted handkerchief instantly recalls Othello; a skull Hamlet. One reason for stage properties’ neglect by cognitive theorists may be the longstanding tendency to conceptualise props as detachable body parts: instead, this monograph argues for props as detachable parts of the mind. Through props, Shakespeare’s characters offload, reveal and intervene in each other’s cognition, illuminating and extending their affect. Shakespeare’s props are neither static icons nor substitutes for the body, but volatile, malleable, and dangerously exposed extensions of his characters’ minds. Recognising them as such offers new readings of the plays, from the way memory becomes a weapon in Hamlet’s Elsinore, to the pleasures and perils of Early Modern gift culture in Othello. The monograph illuminates Shakespeare’s exploration of extended cognition, recollection and remembrance at a time when the growth of printing was forcing Renaissance culture to rethink the relationship between memory and the object. Readings in Shakespearean stage history reveal how props both carry audience affect and reveal cultural priorities: some accrue cultural memories, while others decay and are forgotten as detritus of the stage.