By Diana E. Henderson
This Concise spouse offers a multidisciplinary diversity of methods to an enormous multimedia topic, Shakespeare on reveal. The book’s members use the most recent considering from cultural experiences, communications, and comparative media, in discussion with literary, theatrical, and filmic methods, so one can push the sphere ahead. they give thought to Shakespeare on monitor not just as a suite of comprehensive items but additionally as a strategy. hence, the quantity is geared up round issues akin to authorship and collaboration, theatricality, intercourse and violence, globalization, and heritage. The Concise significant other bargains readers various available routes into Shakespeare on display and helps additional examine of the topic in the course of the inclusion of a bibliography, a chronological chart, and a radical index. even as, it serves as a focus for exploring primary concerns within the examine of literature and tradition extra greatly, akin to the relationships among elite and pop culture, paintings and undefined, textual content, picture, and function.
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Additional info for A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture)
As Hutcheon points out, postmodernism is usually deﬁned in terms of “negativized rhetoric,” “discontinuity, dislocation, decentering, indeterminacy, and antitotalization” (1989: 3). But these ﬁlms demonstrate the “positives” of postmodernism she identiﬁes: the recognition of cultural and temporal differences, the freedom that comes with realizing there is no “ﬁnal” text, the democratization of art (mixing “high” and “low” elements), the use of parody and playfulness to challenge the “authority” and “authenticity” of a “revered” text in the process of reclaiming that text for a wide, contemporary audience.
Bennett, Susan (1996). Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London and New York: Routledge. 28 Getting Back to Shakespeare Berlin, Normand (1977).
Paradoxically, the sequence of quotations that is The Mousetrap in Almereyda’s Hamlet is therein original (see SHAUGHNESSY, DONALDSON). 25 Elsie Walker This Mousetrap, made from a pile of Blockbuster videos, is perhaps also a meditation on the Hollywood ﬁlmmaking industry as a network of endlessly recyclable material, an industry in which the same stories are told/adapted with “regulated difference,” to use Steve Neale’s phrase (1990: 64), where it is difﬁcult for individual voices – the “voice” of Almereyda the independent director, the voice of Hamlet, of Ethan Hawke in the lead – to make themselves heard.
A Concise Companion to Shakespeare on Screen (Concise Companions to Literature and Culture) by Diana E. Henderson