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Journal articles on the topic 'Shakespeare; Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.

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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.

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2

Rani Barooah, Papori. "SPECTACULAR SHAKESPEARE IN THE 21ST CENTURY CINEMA: MERGE OF CULTURES." International Journal of Advanced Research 8, no. 10 (October 31, 2020): 624–32. http://dx.doi.org/10.21474/ijar01/11885.

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In the entire gamut of publication and performance history, William Shakespeare is one of the most popular names and most of his plays have been acted and reacted, adapted and published in various forms. In many countries, to be particular, in India, perhaps due to the colonial heritage, Shakespeare has never ceased to fascinate – both in the pre- and post-independence era. Indian cinema has seen many versions of his plays in popular cinema. Amongst all the performances of Shakespeares plays, Vishal Bharadwaj movie Omkara (2006) may be considered as one of the best ever Indianized performances of his play Othello. This study is an attempt to critically study the recreation of Othello in the Indian setting in the light of the original play. It is aimed at capturing the universality in the works of Shakespeare to establish the acceptability of his creations in each age, the significance of his citation, and the purchase of his status in various cultural niches and registers. In the adaptation of Shakespeares plays in Indian films, the Bard is not only absorbed into the cultural fabric of India but still maintains a catalyzing presence in post-colonial India.

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3

Karpova, Olga M. "A new wave of Shakespeare lexicography (with special reference to LSP dictionaries)." Lexicographica 36, no. 1 (November 25, 2020): 241–54. http://dx.doi.org/10.1515/lex-2020-0013.

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AbstractThe paper deals with a description of new specialized Shakespeare reference books belonging to English cultural heritage lexicography (dictionaries of characters, quotations, proverbs, guides, companions). The main accent is made on LSP titles published by Arden Shakespeare Dictionaries, describing terminology of different subject fields found in Shakespeare’s works: economics, medicine, politics, philosophy, visual arts, religion, music, etc., where Shakespeare is known to be a professional. The article also covers needs and demands of LSP dictionaries target audience (theatre, cinema producers) and shows perspectives of the digital future of Shakespeare lexicography.

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4

Paterson, Ronan. "Additional Dialogue by… Versions of Shakespeare in the World’s Multiplexes." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 53–69. http://dx.doi.org/10.2478/mstap-2013-0005.

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William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and thrillers, as well as trans-cultural assimilations. But this very proliferation throws up other questions, as to what can legitimately be called an adaptation of Shakespeare. Not every story of divided love is an adaptation of Romeo and Juliet. Different adaptations and assimilations have enjoyed differing degrees of success, and the essay interrogates those aspects which make the popular cinema audience flock to see Shakespeare in such disguised form, when films which are more faithfully based upon the original plays are so much less appealing to the audience in the Multiplexes.

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5

Rothwell, Kenneth S., and John Collick. "Shakespeare, Cinema and Society." Shakespeare Quarterly 42, no. 1 (1991): 116. http://dx.doi.org/10.2307/2870669.

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6

Timplalexi, Eleni. "Shakespeare in Digital Games and Virtual Worlds." Multicultural Shakespeare: Translation, Appropriation and Performance 18, no. 33 (December 30, 2018): 129–44. http://dx.doi.org/10.18778/2083-8530.18.09.

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Shakespeare’s plays have long flirted with using various artistic and medial forms other than theatre, such as cinema, music, visual arts, television, comics, animation and, lately, digital games and virtual worlds. Especially in the 20th and 21st century, a fascination with Shakespeare both as a historical and theatrical figure and as a playwright has become evident in screen based media (cinema, television and video), ranging from “faithful,” almost documented performances of his plays to free style adaptations or vague film references. Digital games and virtual worlds carry on this tradition of the transmedial journey of Shakespeare’s plays to screen based media but top it up with new forms of interaction and performativity. For the first time in the history of mankind everyone can enjoy firsthand from his armchair and for free the experience of taking part in a play by the Bard by entering a virtual world as if it was a stage and by assuming roles through avatars. The article attempts first to introduce the reader to the deeper needs that gave rise to animation, a fundamental aspect of digital gaming and virtual worlds. It then tries to illuminate the various facets of digital performance and gaming, especially in relation to Shakespeare-themed and inspired digital games and virtual worlds, by putting forward some axes of classification. Finally, it both suggests some ideas that may be of use in rendering the Shakespeare gaming experience more “complete” and “theatrical” and ends by acknowledging the immense potential for the exploration of theatricality and performativity in digital games and virtual worlds.

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7

Kowsar, K. S. Shahanaaz, and Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER." Creativity Studies 14, no. 1 (March 18, 2021): 90–98. http://dx.doi.org/10.3846/cs.2021.11556.

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William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major creative restructuring between the original text and the filmic medium. The restructuring of the adaptation involves shift in the medium, genre, context and culture to suit the differences in area and medium. The director of a film needs to be highly creative to adapt a literary text to make a film. Vishal Bhardwaj is one such contemporary prolific film makers who have successfully adapted Shakespearean plays like Othello, Macbeth and Hamlet into Indian cinema. The research article tries to portray the creativity of a director to recreate a new film out of an existing text (filmic adaptation). The article analyses the concept of conceptual blending creativity process and bricolage in highlighting the creativity of Bhardwaj in adapting Hamlet and localizing it in Indian cinema as Haider (2014).

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8

Nayar, Sheila J., and Stephen M. Buhler. "Shakespeare in the Cinema: Ocular Proof." Sixteenth Century Journal 34, no. 1 (April 1, 2003): 265. http://dx.doi.org/10.2307/20061384.

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9

Gottlieb, Sidney. ": Shakespeare, Cinema, and Society . John Collick." Film Quarterly 43, no. 4 (July 1990): 28–30. http://dx.doi.org/10.1525/fq.1990.43.4.04a00150.

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10

Aune, M. G. "Shakespeare and the English-speaking Cinema." Shakespeare 12, no. 1 (August 14, 2015): 99–100. http://dx.doi.org/10.1080/17450918.2015.1064988.

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11

Burnett, Mark Thornton. "Shakespeare and Contemporary Latin American Cinema." Shakespeare Quarterly 62, no. 3 (2011): 396–419. http://dx.doi.org/10.1353/shq.2011.0055.

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12

Michel Modenessi, Alfredo. "Looking for Mr GoodWill in “Rancho Grande” and Beyond: The ‘Ghostly’ Presence of Shakespeare in Mexican Cinema." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 97. http://dx.doi.org/10.14198/raei.2012.25.08.

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The Perhaps as an outcome of the “globalization” of Shakespeare studies, the film Huapango (dir. Iván Lipkies, 2003), avowedly based on Othello, seems to be drawing attention from scholars world-wide far more quickly and productively than the only other movie unabashedly adapted from a Shakespeare play in Mexican cinema: Cantinflas’s Romeo y Julieta (dir. Miguel M. Delgado, 1943). Although in Mexico these two pictures still stand alone in deriving integrally from a Shakespeare play, they are not, of course, the sole cases in Spanish-speaking cinema, where over the years a handful of films have been made with similar premises. All of them share a simple but potentially revealing feature, however: so far, no Spanish-speaking film made from Shakespeare can be deemed a “straightforward” performance/translation of its source. Nonetheless, films that ‘reset’, ‘cite’, or somehow ‘ex/ap-propriate’ Shakespeare are not wanting in Mexico. After briefly revisiting points I have made elsewhere on the two aforementioned pictures, this mostly descriptive paper* will aim to identify the “actual” or “ghostly” “presence” of Shakespeare in three films made at diverse stages in the history of Mexican cinema: Enamorada (dir. Emilio Fernández, 1946), El charro y la dama (dir. Fernando Cortés, 1949), and Amar te duele (dir. Fernando Sariñana, 2002).

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13

Turatti, Ricardo Amarante. "Os Caminhos de Hamlet no Cinema." Remate de Males 37, no. 1 (August 28, 2017): 409. http://dx.doi.org/10.20396/remate.v37i1.8649238.

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Hamlet, de William Shakespeare, é uma obra que provoca constantes revisões e interpretações. No que se refere ao cinema, diversas produções adaptaram ou fizeram referência à peça do dramaturgo inglês. O artigo se concentra nas possibilidades de exploração filosófica e política da obra no campo do cinema, ressaltando principalmente duas adaptações: Hamlet, dirigido por Laurence Olivier em 1948 e Hamlet de William Shakespeare, dirigido por Kenneth Branagh em 1996. A partir da exploração das adaptações de Hamlet, é possível traçar um panorama não apenas das possibilidades de releitura para essa obra específica, mas também para o significado da figura do dramaturgo inglês para a cultura em geral, expondo as sucessivas interpretações e ressignificações de obras e personagens shakespearianos.

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14

Silva, Marcel Vieira Barreto. "Da subserviência à subversão: Shakespeare no cinema silencioso." Revista Contracampo, no. 23 (December 8, 2011): 171. http://dx.doi.org/10.22409/contracampo.v0i23.98.

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Este artigo tem o objetivo de analisar filmes do período silencioso (1895-1929) que utilizaram a literatura dramática de William Shakespeare como fonte. Encenando diferentes procedimentos de apropriação, condizentes às capacidades narrativas de cada período, esses filmes apresentam maneiras amplamente variadas de atualizar o teatro shakespeariano, desde o cinema de atrações – e sua estética de mostração –, até a releitura paródica e a crítica metatextual. Nesse sentido, são obras que, analisadas conjuntamente, auxiliam no entendimento dos modos de adaptação de Shakespeare à cultura audiovisual do século XX, através das diversas ingerências sociais, culturais, econômicas e estéticas envolvidas no processo.

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15

Diniz, T. F. N. "Shakespeare e o Cinema: Ontem e Hoje." Revista Scripta Uniandrade 14, no. 1 (June 30, 2016): 40–55. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.v14n1p40-55.

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16

Anderegg, Michael A. "Shakespeare in the Cinema: Ocular Proof (review)." Shakespeare Quarterly 54, no. 3 (2003): 349–51. http://dx.doi.org/10.1353/shq.2004.0002.

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17

Rippy, Marguerite H. "Shakespeare in the Cinema: Ocular Proof (review)." South Central Review 21, no. 1 (2004): 135–36. http://dx.doi.org/10.1353/scr.2004.0011.

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18

Semenza, Greg Colón. "The Globalist Dimensions of Silent Shakespeare Cinema." Journal of Narrative Theory 41, no. 3 (2011): 320–42. http://dx.doi.org/10.1353/jnt.2011.0099.

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19

Murray, Kevin. "Shakespeare and World Cinema: A Critical Overview." Literature Compass 10, no. 4 (March 19, 2013): 369–82. http://dx.doi.org/10.1111/lic3.12055.

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20

Woolland, Brian, Lisa S. Starks, and Courtney Lehmann. "The Reel Shakespeare: Alternative Cinema and Theory." Modern Language Review 99, no. 3 (July 2004): 743. http://dx.doi.org/10.2307/3739010.

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21

Bertin, Marilise Rezende. "Tales from Shakespear no Brasil: traduções e adaptações do conto “The Tempest” endereçadas ao leitor infantojuvenil." Cadernos de Literatura em Tradução, no. 12 (November 1, 2011): 47–69. http://dx.doi.org/10.11606/issn.2359-5388.i12p47-69.

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É fato que a obra de William Shakespeare se multiplica há quasetrezentos anos por meio das inúmeras reescrituras1de suas peças, produzidas nos mais diversos idiomas, entretendo variados tipos de públicos. São muitos os meios de comunicação pelos quais Shakespeare reaparece e se reafirma como um clássico: Internet, cinema, teatro, televisão, música, livros. Shakespeare se faz presente necessariamente em todos os tipos de mídias, nas mais diversas formas.

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22

Anderegg, Michael A. "The Reel Shakespeare: Alternative Cinema and Theory (review)." Shakespeare Quarterly 54, no. 4 (2003): 471–73. http://dx.doi.org/10.1353/shq.2004.0023.

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23

Gottlieb, Sidney. "Review: Shakespeare, Cinema, and Society by John Collick." Film Quarterly 43, no. 4 (1990): 28–30. http://dx.doi.org/10.2307/1212729.

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24

Wray, Ramona. "Spectacular Shakespeare: Critical Theory and Popular Cinema (review)." Shakespeare Quarterly 55, no. 4 (2004): 494–96. http://dx.doi.org/10.1353/shq.2005.0038.

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25

Osborne, Laurie E. "Shakespeare and World Cinema by Mark Thornton Burnett." Shakespeare Quarterly 66, no. 3 (2015): 379–80. http://dx.doi.org/10.1353/shq.2015.0048.

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26

Domingos dos SANTOS, Kedrini. "IONESCO, JOYCE E SHAKESPEARE NO CINEMA DE MANOEL DE OLIVEIRA." Linguagem: Estudos e Pesquisas 23, no. 2 (June 5, 2020): 39–61. http://dx.doi.org/10.5216/lep.v23i2.60164.

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A literatura e o cinema constituem-se como sistemas semióticos distintos, aspecto que evidencia a complexidade da relação entre essas artes. A literatura apresenta temas e estruturas narrativas que podem inspirar o trabalho cinematográfico. Ambas as artes podem provocar emoções e sentimentos no homem através de suas imagens: enquanto a literatura associa-se à imaginação, o cinema coloca a imagem diante do espectador. Considerando o cinema do cineasta português Manoel de Oliveira, e ciente do diálogo que ele mantém com outras artes, especialmente com a literatura, buscaremos observar, a partir do filme Je rentre à la Maison, o intertexto do filme com três grandes obras: As peças teatrais: Le roi se meurt, de Ionesco e A tempestade, de Shakespeare, e o romance Ulisses, de James Joyce. Procuraremos compreender como essas obras literárias se integram no universo fílmico oliveriano, tornando-se parte fundamental para a construção do sentido.

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27

Tempera, Mariangela. "Shakespeare in French Cinema(s) : a Catalogue in Progress." Cahiers Charles V 45, no. 1 (2008): 231–52. http://dx.doi.org/10.3406/cchav.2008.1533.

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28

Amorim, Marcel Alvaro. "Adaptação intercultural – o caso de Shakespeare no cinema brasileiro." Brasiliana- Journal for Brazilian Studies 3, no. 1 (2014): 512–20. http://dx.doi.org/10.25160/v3.i1/br.1.

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29

Alvim, Luíza Beatriz. "Between genres and styles in the films of Robert Bresson." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 113–36. http://dx.doi.org/10.5195/cinej.2015.127.

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The films of French director Robert Bresson are considered sober and transcendental. However, in A gentle woman (1969) and in Four nights of a dreamer (1972), he included extracts of quite different genres, like a libertine comedy (the extract of film Benjamim by Michel Deville, 1968), a Shakespearean tragedy (a performance of Shakespeare´s Hamlet) and a gangster film (When love possesses us, produced by Bresson himself). In a way, those excerpts represent exactly the opposite of Bresson´s cinema. On the other hand, they still have some familiarity with it. We analyze the approach of those genres in the sequences in Bresson´s films, as well of the styles present in them by the use of music and images of paintings.

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30

Kizelbach, Urszula. "The Polish Shakespearean stage in the post-transformational era." Journal of Adaptation in Film & Performance 14, no. 1 (March 1, 2021): 11–29. http://dx.doi.org/10.1386/jafp_00039_1.

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The Shakespearean stage productions after 1989 reflected social, political and economic changes in the rapidly transforming Polish reality, which gave rise to a modern type of audience whose sensitivity was shaped by popular music, cinema, digital media and the mass culture. Contemporary Polish directors (Jan Klata, Maja Kleczewska, Grzegorz Jarzyna, Krzysztof Warlikowski) recognized that modernity and tradition can (and should) be combined onstage and that canonical texts can express new meanings in new forms. The new approach to the audience and the canon led to the development of the new aesthetics representing the ‘postdramatic theatre’. The new aesthetics gave new rights to the directors; for example, Maja Kleczewska set her Macbeth in a criminal underworld of the Polish mafia in the 1990s, imbuing her production with kitschy costumes and pop culture symbols. For the same reason, Jan Klata located his H. in the Gdansk shipyard, the birthplace of ‘Solidarity’, infusing his adaptation with the music of The Doors, Metallica and U2. In my analysis of the Polish Shakespearean stage in the post-transformational era, I offer a short overview of some key trends in dramaturgical aesthetics and the directors’ approaches to the adaptation of Shakespeare’s drama to the stage in the 1990s and 2000s. Next, I discuss in more detail the ‘postdramatic’ aesthetics of the modern Shakespeare adaptations based on the examples of two chosen artists, Maja Kleczewska and Jan Klata.

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31

Gomes, Marcelo Bolshaw. "Hamlet e a hermenêutica: Das muitas interpretações da triste estória do príncipe da Dinamarca." Rizoma 4, no. 1 (August 5, 2016): 166. http://dx.doi.org/10.17058/rzm.v3i1.6422.

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Analisa-se aqui quatro adaptações de Hamlet, de William Shakespeare, para o cinema: Laurence Olivier (1948); Franco Zeffirelli (1990); Kenneth Branagh (1996) e Michael Almereyda (2000). E se discutem as relações da narrativa com a psicanálise e com a hermenêutica.

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32

Lingui Yang. "Shakespeare in Alternative Cinema: Sherwood Hu’s Tibetan Adaptation of Hamlet." Shakespeare Review 50, no. 5 (December 2014): 971–91. http://dx.doi.org/10.17009/shakes.2014.50.5.010.

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33

Oliveira, S. R. "Do Texto Dramático ao Cinema: Quatro Tempestades de William Shakespeare." Revista Scripta Uniandrade 14, no. 1 (June 30, 2016): 15–39. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.v14n1p15-39.

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34

Silverstone, Catherine. "Shakespeare, Cinema and Queer Adolescents: Unhappy Endings and Heartfelt Conclusions." Shakespeare 10, no. 3 (July 5, 2013): 309–27. http://dx.doi.org/10.1080/17450918.2013.807297.

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35

Jones, Nicholas R. "Almost Shakespeare: Reinventing His Works for Cinema and Television (review)." Shakespeare Bulletin 24, no. 3 (2006): 71–73. http://dx.doi.org/10.1353/shb.2006.0051.

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36

Semenza, Greg M. Colón. "Shakespeare and the Auteurs: Rethinking Adaptation through the Director’s Cinema." Shakespeare Bulletin 34, no. 3 (2016): 353–71. http://dx.doi.org/10.1353/shb.2016.0031.

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37

José Roberto O’Shea. "O teatro shakespeariano em tradução no Brasil." Revista Confluências Culturais 10, no. 1 (March 30, 2021): 7–12. http://dx.doi.org/10.21726/rcc.v10i1.784.

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Discorrer sobre a recepção da poesia dramática de William Shakespeare em tradução no Brasil requer um panorama que abranja literatura, cinema e televisão – além do teatro, é claro. E qualquer avaliação, por mais breve que seja, da chegada de Shakespeare entre nós não pode prescindir de referência à história de rebatimentos culturais europeus desde o início do nosso processo de colonização. Embora os portugueses tenham iniciado a colonização já em 1500, teatros e outros tipos de espaços formais para as artes só se tornaram disponíveis nos centros políticos do Rio de Janeiro, São Paulo, Salvador e Manaus no século XVIII.

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38

Calbi, Maurizio. "“This England”: Re-Visiting Shakespearean Landscapes and Mediascapes in John Akomfrah’s The Nine Muses (2010)." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 59–75. http://dx.doi.org/10.1515/mstap-2017-0005.

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The paper will offer a reading of John Akomfrah’s The Nine Muses (2010), a 90-minute experimental feature film that has been defined as “one of the most vital and original artistic responses to the subject of immigration that British cinema has ever produced” (Mitchell). It will focus on the multifarious ways in which the film makes the “canonical” literary material that it incorporates, including Shakespeare, interact with rarely seen archival material from the BBC regarding the experience of Caribbean and South Asian immigrants in 1950s and 1960s Britain. It will argue that through this interaction the familiarity of Western “canonical” literature re-presents itself as an uncanny landscape haunted by other stories, as a language that is already in itself the “language of the other” (Derrida). In particular, it will claim that Shakespearean fragments are often used in an idiosyncratic way, and they repeatedly resonate with some of the most fundamental ethical and political issues of the film, such as the question of England as “home” and migration. The paper will also argue that the decontextualization and recontextualization of these fragments makes them re-emerge as part of an interrogation of the mediality of the medium, an interrogation that also offers insights into the circulation of Shakespeare in the contemporary mediascape.

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39

De Amorim, Marcel Alvaro. "SHAKESPEARE NO SERTÃO: UMA LEITURA BRASILEIRA DE HAMLET, POR OZUALDO CANDEIAS." Cadernos do IL, no. 53 (January 20, 2017): 010. http://dx.doi.org/10.22456/2236-6385.67431.

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Com base em recentes teorias sobre a tradução/adaptação de obras literárias para o cinema, este artigo tem como objetivo analisar uma versão fílmica da peça Hamlet (1600-1601), de William Shakespeare, produzida no Brasil durante a década de 1970. É intenção desta pesquisa argumentar que o filme analisado – A Herança (Ozualdo Candeias, 1971) –, mais que uma tradução intersemiótica, é uma adaptação intertextual e antropofágica da famosa tragédia shakespeariana.

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40

Madrid Brito, Débora. "Así Stan Lee como William Shakespeare." Neuróptica, no. 2 (May 17, 2021): 55–74. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.202025419.

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Resumen: En los años noventa se produce un renovación generacional de cineastas que marcará distancias con sus predecesores. Destacan por la mezcla de referencias audiovisuales de todo tipo alejadas de la literatura, que había sido el modelo predominante hasta el momento y entre las que el cómic tiene una presencia relevante. Este artículo estudia los casos paradigmáticos de Álex de la Iglesia, Óscar Aibar y Javier Fesser analizando sus óperas primas en busca de aquellos elementos que evidencian en sus películas la relación con el ámbito de la historieta. Abstract: A generational renovation is notable in 90’s Spanish cinema. The new filmmakers make use of a mixture of audiovisual references that move away from the literary model, which had been the main reference for the preceding generation. In this context, comic was one of those cultural manifestation that influenced on filmmaker’s storytelling way in this period. This paper proposes an analysis of the paradigmatic cases of Álex de la Iglesia, Óscar Aibar and Javier Fesser, whose first works show many features that evidence their intertextual relation with comic.

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41

Huertas Martín, Víctor. "The Tempest de William Shakespeare, dirigida por Gregory Doran (Royal Shakespeare Company, 2016-2017). Dialéctica entre tecnología virtual y corporalidad." Diablotexto Digital 3 (January 18, 2019): 43. http://dx.doi.org/10.7203/diablotexto.3.13015.

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Este artículo estudia la dialéctica que se da entre los cuerpos de los actores y la tecnología virtual en la producción de The Tempest de Gregory Doran (2016-2017). Dicha dialéctica será observada desde una óptica marxista – principalmente a partir del trabajo de Silvia Federici – y desde la crítica textual y escénica del texto de Shakespeare. Aspectos como la tecnología y el cuerpo serán de importancia para mi trabajo. Particularmente me centraré en el cuerpo como materia sometida al castigo corporal y a su instrumentalización en la película. También trabajaré a partir de la teorización de Gabriella Giannachi sobre el teatro virtual como herramienta de debate estético, político y ético en un entorno hipertextual. Estudiaré las interacciones entre los cuerpos y la tecnología en el espacio escénico del Royal Shakespeare Theatre y cómo dicha interrelación se traslada a la pantalla durante la emisión del espectáculo a través del live cinema.

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Horton, Robert. "An American in King Henry's Court: Orson Welles' Chimes at Midnight." Linguaculture 2017, no. 2 (December 20, 2017): 32–41. http://dx.doi.org/10.1515/lincu-2017-0016.

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Abstract Orson Welles, a boy from Kenosha, Wisconsin, was one of the most audacious Shakespearians who ever lived. He recited soliloquies as a child, wrote a book on the plays as a teenager, and at age 17 roamed across Ireland before brazenly (and successfully) presenting himself at the Abbey Theatre as a distinguished American actor. Welles also created three of the most ambitious Shakespeare films. As an American pretender, a colonial presuming to re-interpret the greatest British writer, Welles approached Shakespeare with a mix of bravado and insecurity. This paper explores how Welles' American nature informs these roles and, especially, his final Shakespeare film, Chimes at Midnight (1965). In this production, Welles plays Falstaff and is understandably identified with the role, but it could be argued that he speaks more directly through Prince Hal, whose anxiety about inheriting the throne might be reflected in the way an American Shakespearian seeks to be accepted by the British keepers of the text. The words of Hal's father, Henry IV- Uneasy lies the head that wears the crown -might apply to Welles' American-inflected depictions of kings and princes who do not entirely believe in their own royal agency. The tension between Welles‘ brashness and his fretfulness created some of the most memorable Shakespeare in the cinema.

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Roberts, Lisa-Jane. "Moulding Malvolio into Modern Adaptations of “Twelfth Night”." Journal of English Studies 17 (December 18, 2019): 299. http://dx.doi.org/10.18172/jes.3553.

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This paper explores how target-audience expectations and generic limitations on modern, mass-culture adaptations of Shakespeare’s comedy Twelfth Night mould the characterization of his officious steward Malvolio, and dictate the degree of centrality that his subplot holds in each different version. A trans-generic application of Shlomith Rimmon-Kenan’s work on characterization will expose how the character of Malvolio is constructed and presented, first in the original play and then in three modern adaptations of Twelfth Night into different popular genres. The works selected for contrastive analysis with the original play each represent different generic fields found on today’s mass-culture market – romance fiction, teen cinema and the web-comic. Respectively, they are: The Madness of Love, a contemporary romance novel by Katharine Davies, published in 2005; She’s the Man, a Hollywood teen film directed by Andy Fickman in 2006; and a web-comic retelling of Twelfth Night by Mya Lixian Gosling, which was published on her website Good Tickle-Brain Shakespeare in 2014.

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Anna Kovalova. "Aleksandr Voznesenskii, the ‘Kinemo-Shakespeare’: Notes on the First Russian Cinema Dramatist." Slavonic and East European Review 96, no. 2 (2018): 208. http://dx.doi.org/10.5699/slaveasteurorev2.96.2.0208.

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Lehmann, Courtney. "Shakespeare and World Cinema by Mark Thornton Burnett, and: Filming Shakespeare in the Global Marketplace by Mark Thornton Burnett." Shakespeare Bulletin 31, no. 4 (2013): 755–63. http://dx.doi.org/10.1353/shb.2013.0066.

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Adriano, Geisy, and Leila Darin. "A tradução intersemiótica de Hamlet para os quadrinhos: o solilóquio “Ser ou não ser”." Tradterm 31 (April 2, 2018): 25. http://dx.doi.org/10.11606/issn.2317-9511.v31i0p25-53.

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Mais de 400 anos depois, o legado de William Shakespeare continua pulsando vivo no âmago da sociedade, graças às inúmeras (re)edições e traduções de seus livros, às encenações de suas peças em teatros de todo o mundo e à grande variedade de adaptações, seja para o cinema, balé, ópera ou para os desenhos animados, videogames e histórias em quadrinhos. Nesse contexto, é que o fantasma do príncipe da Dinamarca regressa. A presente pesquisa propõe-se a analisar a tradução da peça de teatro Hamlet, de William Shakespeare, para os quadrinhos da coleção Mangá Shakespeare da editora inglesa SelfMadeHero, disponíveis em português brasileiro pela Galera Record. Dentre outros pontos, serão abordados aspectos gerais da transposição; cotejo das principais características da obra com respeito a tema, trama, desenho dos personagens e linguagem; e aspectos externos que influenciam a adaptação, tais como o conhecimento das editoras e dos atores envolvidos no processo. Para tanto, serão utilizados como referencial teórico o conceito de tradução intersemiótica - ou transmutação - de Roman Jakobson (2015), complementado por Julio Plaza (2008); o conceito de reescrita, de André Lefevere (2007); bem como a fortuna crítica do referido corpus e da linguagem dos quadrinhos, em especial, dos mangás.

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Thomas, Aparna. "Plaintive Survival under Panoptical Surveillance: A Reading of Rituparno Ghosh’s The Last Lear." SMART MOVES JOURNAL IJELLH 7, no. 1 (January 9, 2019): 9. http://dx.doi.org/10.24113/ijellh.v7i1.6285.

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This paper is an attempt to explore how the powerful gaze of the panoptical power relation through the technological aids of this neocolonial era which forms the ‘Self,’ distorts the identity, privacy and liberty of the lives under this surveillance who becomes the ‘other’. The study is based on the reading of Rituparno Ghosh’s 2007 English–language film The Last Lear. The film which won the National Award of India for the best feature film in English in 2007 is based on a 1985 Bengali play, Ajker Shajahan ( Today’s Shakespeare) written by Utpala Dutt. The film unfolds the story of an aging Shakespearean actor persuaded by a young ambitious director to take up acting again. But the retired actor is unwilling to adjust the new world of cinema and its complex technical tricks. The film also expose how the powerful camera gaze and mobile phones turn as the new colonizer who distorts truth and induce fears in the minds of the people under surveillance. This study is carried out based on the Post-Panoptical theories of Surveillance.

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Vieira, Marcilio De Souza. "A ARS EROTICA EM MEDEIA E ROMEU E JULIETA." Revista Europeia de Estudos Artisticos 5, no. 4 (December 30, 2014): 17–31. http://dx.doi.org/10.37334/eras.v5i4.80.

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O que a estética da ars erotica significa para pensarmos as Artes Cênicas na atualidade? Com base nesse questionamento apresentamos as peças teatrais Medéia de Eurípides e Romeu e Julieta de Shakespeare, como significativas para se pensar a ars erotica neste texto. Essas obras abrempossibilidades de vivenciarmos outras estéticas na contemporaneidade seja no teatro, na dança ou no cinema. Investigamos a ars erotica buscando compreender como a mesma pode contribuir para a reflexão sobre o corpo e sexualidade no contexto das Artes Cênicas. Utilizamos como referencial metodológico a análise de imagens a partir de representações cênicas e cinematográficas.

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Pinheiro, Nicolle Lemos de Almeida. "Cinema, literatura e dialogismo: as relações entre a obra shakespeariana "Romeu e Julieta" e o filme "Cartas para Julieta"." Em Tese 20, no. 2 (August 31, 2014): 104. http://dx.doi.org/10.17851/1982-0739.20.2.104-114.

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O seguinte estudo se propõe a analisar, através do conceito de dialogismo proposto por Mikail Bahktin, como podem ser construídas as relações intertextuais presentes entre as esferas da literatura e do cinema, tomando como exemplo a peça <em>Romeu e Julieta, </em>escrita em meados de 1594 por Wiliam Shakespeare, e o filme <em>Cartas para Julieta</em>, produzido no ano de 2010 pelo cineasta Garry Winick. Para tanto, serão pontuados e exemplificados os mecanismos intertextuais da carnavalização, paródia, citação e alusão, tornando clara a conexão poética e sistemática entre duas obras tecidas com, aproximadamente, 5 séculos de distância.

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Gandara, Lemuel Da Cruz. "LITERATURA, TEATRO E CINEMA: MEDIAÇÕES POSSÍVEIS PARA WILLIAM SHAKESPEARE NA SEGUNDA FASE DO ENSINO FUNDAMENTAL." Reflexão e Ação 23, no. 1 (June 16, 2015): 390. http://dx.doi.org/10.17058/rea.v23i1.5829.

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