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Books on the topic 'Shakespeare; Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Collick, John. Shakespeare, cinema, and society. Manchester: Manchester University Press, 1989.

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2

Shakespeare and world cinema. Cambridge: Cambridge University Press, 2012.

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3

Ryle, Simon. Shakespeare, Cinema and Desire. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137332066.

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4

Shakespeare fra teatro e cinema. Firenze: Le lettere, 2009.

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5

Shakespeare in the cinema: Ocular proof. Albany: State University of New York Press, 2002.

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6

Shakespeare e gli inganni del cinema. Roma: Bulzoni, 2002.

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7

Silva, Marcel Vieira Barreto. Adaptação intercultural: O caso de Shakespeare no cinema brasileiro. Salvador: EDUFBA, 2013.

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8

Shakespearean films/Shakespearean directors. Boston: Unwin Hyman, 1990.

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9

Orson Welles, Shakespeare, and popular culture. New York: Columbia University Press, 1999.

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10

A history of Shakespeare on screen: A century of film and television. 2nd ed. Cambridge, UK: Cambridge University Press, 2004.

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11

Rothwell, Kenneth S. A history of Shakespeare on screen: A century of film and television. Cambridge: Cambridge University Press, 1999.

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12

Isabella, Imperiali, ed. Shakespeare al cinema. Roma: Bulzoni, 2000.

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13

Burnett, Mark Thornton. Shakespeare and World Cinema. University of Cambridge ESOL Examinations, 2015.

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14

Shakespeare, Cinema, Counter-Culture: Postmodern Appropriations of Shakespeare. Taylor & Francis Group, 2016.

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15

Shakespeare and the English-Speaking Cinema. Oxford University Press, 2014.

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16

Shakespeare and the English-Speaking Cinema. Oxford University Press, 2014.

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17

Emanuela, Martini, ed. Ombre che camminano: Shakespeare nel cinema. Torino: Lindau, 1998.

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18

Cineaste: Shakespeare in the cinema supplement. New York: Cineaste Publishers, 1998.

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19

Lehmann, Courtney, and Lisa S. Starks. Reel Shakespeare: Alternative Cinema and Theory. Rowman & Littlefield Publishers, Incorporated, 2002.

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20

Shakespeare Cinema And Desire Adaptation And Other Futures Of Shakespeares Language. Palgrave Macmillan, 2013.

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21

(Editor), Lisa S. Starks, and Courtney Lehmann (Editor), eds. The Reel Shakespeare: Alternative Cinema and Theory. Fairleigh Dickinson University Press, 2002.

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22

1960-, Starks Lisa S., and Lehmann Courtney 1969-, eds. The reel Shakespeare: Alternative cinema and theory. Madison [N.J.]: Fairleigh Dickinson University Press, 2002.

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23

(Editor), Courtney Lehmann, and Lisa S. Starks (Editor), eds. Spectacular Shakespeare: Critical Theory and Popular Cinema. Fairleigh Dickinson University Press, 2002.

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24

1969-, Lehmann Courtney, and Starks Lisa S. 1960-, eds. Spectacular Shakespeare: Critical theory and popular cinema. Madison [N.J.]: Fairleigh Dickinson University Press, 2002.

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25

Shakespeare in the Cinema: Ocular Proof (SUNY Cultural Studies in Cinema/Video series). State University of New York Press, 2001.

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26

Buhler, Stephen M. Shakespeare in the Cinema: Ocular Proof (SUNY Cultural Studies in Cinema/Video series). State University of New York Press, 2001.

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27

(Editor), James R. Keller, and Leslie Stratyner (Editor), eds. Almost Shakespeare: Reinventing His Works for Cinema and Television. McFarland & Company, 2004.

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28

1960-, Keller James R., and Stratyner Leslie, eds. Almost Shakespeare: Reinventing his works for cinema and television. Jefferson, N.C: McFarland & Co., 2004.

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29

Shakespearean Star: Laurence Olivier and National Cinema. Cambridge University Press, 2017.

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30

Li, Ruru. Shashibiya: Staging Shakespeare in China (The New Hong Kong Cinema Series). Hong Kong University Press, 2004.

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31

Shakespeare's cinema of love: A study in genre and influence. Manchester University Press, 2016.

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32

White, R. S. Shakespeare's Cinema of Love: A Study in Genre and Influence. Manchester University Press, 2020.

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33

Cartelli, Thomas, and Katherine Rowe. New Wave Shakespeare on Screen. Polity Press, 2007.

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34

McRoberts, Richard, and Marcia Pope. Cambridge Wizard Student Guide Shakespeare in Love (Cambridge Wizard English Student Guides). Cambridge University Press, 2003.

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35

1943-, Boose Lynda E., and Burt Richard 1954-, eds. Shakespeare, the movie: Popularizing the plays on film, TV, and video. London: Routledge, 1997.

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36

Robinson, Peter. Shakespeare’s Loose Ends and the Contemporary Poet. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0026.

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‘Shakespeare’s Loose Ends and the Contemporary Poet’ contains detailed readings of individual poems with a Shakespearean theme by John Ashbery (‘Friar Laurence’s Cell’), Elizabeth Bishop (‘Twelfth Morning; or What You Will’), Roy Fisher (‘Barnardine’s Reply’), alongside passages from Geoffrey Hill’s ‘Funeral Music’ and The Triumph of Love, as well as observations about a number of other Shakespeare-inspired poems. It deploys them to sustain and illustrate an argument that contrasts with the noted attempts by earlier modernist poets such as Yeats, Eliot, Auden, and Ted Hughes to incorporate theories of Shakespeare’s organic creative unity into their oeuvres. Rather, this chapter proposes that it is the heterogeneity, the loose ends and frayed edges of the Shakespearean corpus that have inspired contemporary poets, prompting them to come at their own materials by means of the oblique angles provided by minor characters, such as Barnardine in Measure for Measure or the poet Cinna in Julius Ceasar, and less highly regarded plays, such as the early Henry VI cycle, finding thematic suggestions in implications that remain to be spelt-out in Shakespearean scenes, dialogues, and plot trajectories.

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37

Shakespeare au cinéma. Nathan Université, 2000.

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38

Shakespeare and Indian Cinemas. Taylor & Francis Group, 2018.

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39

Patricia, Dorval, and Société française Shakespeare, eds. Shakespeare et le cinéma. Paris: Société française Shakespeare, 1998.

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40

Duckett, Victoria. Queen Elizabeth. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0005.

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This chapter examines the 1912 feature film Queen Elizabeth as a reflection of Sarah Bernhardt's roles in the late nineteenth century and her insistence that these could remain relevant to audiences in the twentieth century. In histories of the cinema, Queen Elizabeth is a film consistently referred to as an example of “filmed theater.” The chapter considers the cinematic practices that Queen Elizabeth reveals and how the film draws upon the long and rich history of Queen Elizabeth's appearance in the theater, the visual arts, and the popular presses. It argues that Queen Elizabeth was an intelligent and creative response to the theatrical possibilities of the cinema and to the tastes and fashions of Bernhardt's day. It also discusses how Bernhardt brings to film the same practices and processes that Paul Delaroche had earlier brought to history painting. Finally, it shows how Queen Elizabeth establishes a link between Elizabeth and William Shakespeare, thus presenting itself as film that animates history.

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41

Pomerance, Murray, and Steven Rybin, eds. Hamlet Lives in Hollywood. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474411394.001.0001.

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John Barrymore’s influence on screen and stage in the early twentieth century is incalculable. His performances in the theater defined Shakespeare for a generation, and his transition to cinema brought his theatrical performativity to both silent and sound screens. However, in today’s cinema culture, which favors “realistically” grounded performance and harbors suspicions of theatricality as “over-acting” or as somehow irreducibly different from acting in the cinema, both the historical and ongoing importance of John Barrymore’s uniquely cinematic theatricality is often forgotten or disregarded. This book, a collection of fifteen original essays on the film performances and stardom of John Barrymore, redresses this lack of scholarship on Barrymore by offering a range of varied perspectives on the actor’s work. The contributors to the book explore Barrymore from a number of angles, including performance analysis, theatricality, stardom, gender, masculinity, sexuality, psychoanalysis, voice, queer studies, and more. Specific chapters also offer overviews of Barrymore’s career on stage and on screen as well as considerations of his work with other actors, including his famous siblings. Taken together, Hamlet Lives in Hollywood represents a major attempt by contemporary scholars to come to terms with the ongoing vitality of John Barrymore’s work in our present day.

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42

1949-, Jackson Russell, ed. The Cambridge companion to Shakespeare on film. Cambridge, UK: Cambridge University Press, 2000.

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43

Mariani, Giorgio. Anti-War? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039751.003.0001.

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This chapter discusses the ghostly nature of anti-war literature. Even though anti-war literature remains until now largely untheorized, the label continues to be employed and to complicate most discussions of both war literature and war cinema. This is evident in countless Western narratives dealing with war—Homer's Iliad, William Shakespeare's history plays, Leo Tolstoi's War and Peace, Ernest Hemingway's A Farewell to Arms, just to name a few examples. This chapter considers the incorporeal notions associated with the anti-war concept by looking at two texts: Kate McLoughlin's Authoring War: The Literary Representation of War from the Iliad to Iraq and Cynthia Wachtell's War No More: The Antiwar Impulse in American Literature, 1861–1914. It argues that war novels should always be read also as war-and-peace novels and concludes with two examples of American literature that are unquestionably anti-war: Mark Twain's “War Prayer” and Hemingway's A Farewell to Arms.

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44

Kirshner, Jonathan, and Jon Lewis, eds. When the Movies Mattered. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501736094.001.0001.

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The “New Hollywood” that emerged in the late sixties is now widely recognized as an era of remarkable filmmaking, when directors enjoyed a unique autonomy to craft ambitious, introspective movies that evinced a cinematic world of hard choices, complex interpersonal relationships, compromised heroes, and uncertain outcomes. The New Hollywood Revisited brings together a remarkable collection of authors (some of whom wrote about the New Hollywood as it unfolded), to revisit this unique era in American cinema (circa 1967-1976). It was a decade in which a number of extraordinary factors – including the end of a half-century-old censorship regime and economic and demographic changes to the American film audience – converged and created a new type of commercial film, imprinted with the social and political context of the times: the civil rights movement, the Vietnam War, the sexual revolution, women’s liberation, economic distress, urban decay, and, looming, the Shakespearean saga of the Nixon presidency. This volume offers the opportunity to look back, with nearly fifty years hindsight, at a golden age in American filmmaking.

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45

Rothwell, Kenneth S. A History of Shakespeare on Screen: A Century of Film and Television. Cambridge University Press, 2001.

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