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By Diana E. Henderson

This Concise spouse provides a multidisciplinary variety of techniques to an unlimited multimedia topic, Shakespeare on display. The book’s individuals use the newest considering from cultural experiences, communications, and comparative media, in discussion with literary, theatrical, and filmic ways, so that it will push the sphere ahead. they give thought to Shakespeare on display not just as a suite of complete items but in addition as a technique. as a result, the quantity is prepared round subject matters corresponding to authorship and collaboration, theatricality, intercourse and violence, globalization, and heritage. The Concise better half deals readers numerous available routes into Shakespeare on reveal and helps additional research of the topic throughout the inclusion of a bibliography, a chronological chart, and a radical index. while, it serves as a focus for exploring basic concerns within the research of literature and tradition extra largely, comparable to the relationships among elite and pop culture, artwork and undefined, textual content, snapshot, and function.

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A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture)

This Concise significant other offers a multidisciplinary diversity of ways to an enormous multimedia topic, Shakespeare on display. The book’s members use the newest considering from cultural stories, communications, and comparative media, in discussion with literary, theatrical, and filmic ways, with a view to push the sphere ahead.

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4 McKellen as Richard makes several direct addresses to camera, breaking the “fourth wall” convention of film performances (itself derived from nineteenth-century theater). The music which punctuates his victories (composed by Trevor Jones), and the consistently distancing camerawork – the apparent objectivity of which could be “read” as Richard’s own detached viewpoint – reinforce Richard’s “directorial” control disconcertingly, prompting us to seek another perspective beyond the limits of the frame (see HODGDON, LANIER).

References and Further Reading Agee, James (1945). ), Film Theory and Criticism, 1st edn. London: Oxford University Press, 1974: 333–6. Altman, Rick (1999). Film/Genre. London: BFI Publishing. 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.

Their explicit intertextuality “sits well with the postmodern interrogation of the supposed integrity and coherence of all textual announcements” (Burnett and Wray 2000: 5). The films also implicitly decentralize Shakespeare the author “as the unique and isolated source of meaning” as well as the notion of the printed book as a fixed entity (Murphy 2000: 19). Of course no film, no “text” exists in a cultural vacuum and so will be, intentionally or not, a “woven fabric” of quotations (Barthes 1977: 159): within every film there will be references or moments reminiscent of other films.

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