Everything about the how as well as the why of studying audiovisual Shakespeare is provided here, from silent cinema to the multiplex, and from cat's whiskers to Youtube.

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.

From the earliest days of the cinema to the present, Shakespeare has offered a tempting bank of source material than the film industry has been happy to plunder. Shakespeare on Film deftly examines an extensive range of films that have emerged from the curious union of an iconic dramatist with a medium of mass appeal. The many films Buchanan studies are shown to be telling indicators of trends in Shakespearean performance interpretation, illuminating markers of developments in the film industry and culturally revealing about broader influences in the world beyond the movie theatre. As with other titles from the Inside Film series, the book is illustrated throughout with stills. Each chapter concludes with a list of suggested further reading in the field.

This companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare's plays. The emphasis is on feature films for cinema with strong coverage Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet.

Shakespeare and the English-speaking Cinema is a lively, authoritative, and innovative overview of the ways in which Shakespeare's plays have been adapted for cinema. Organised by topics rather than chronology, it offers detailed commentary on significant films, including both 'mainstream' and 'canonical' works by such directors as Laurence Olivier, Orson Welles, Franco Zeffirelli, and Kenneth Branagh, and such ground-breaking movies as Derek Jarman's The Tempest, Baz Luhrmann's William Shakespeare's Romeo + Juliet and Peter Greenaway's Prospero's Books. Chapters on the location of films in place and time, the effect of this on characterisation, and issues of gender and political power are followed by a discussion of work that goes 'beyond Shakespeare. A filmography and suggestions for further reading complete this stimulating, fresh, and accessible account of an important aspect of Shakespeare studies.

This ground breaking collection of essays is the first to examine the phenomenon of how, in the twenty-first century, Shakespeare has been experienced as a 'live' or 'as-live' theatre broadcast by audiences around the world. Shakespeare and the 'Live' Theatre Broadcast Experience explores the precursors of this phenomenon and its role in Shakespeare's continuing globalization. It considers some of the most important companies that have produced such broadcasts since 2009, including NT Live, Globe on Screen, RSC Live from Stratford-upon-Avon, Stratford Festival HD, Kenneth Branagh Theatre Company Live, and Cheek by Jowl, and examines the impact these broadcasts have had on branding, ideology, style and access to Shakespeare for international audiences. Contributors from around the world reflect on how broadcasts impact on actors' performances, changing viewing practices, local and international Shakespearean fan cultures and the use of social media by audience members for whom “liveness” is increasingly tied up in the experience economy. The book tackles vexing questions regarding the 'presentness' and 'liveness' of performance in the 21st century, the reception of Shakespeare in a globally-connected environment, the challenges of sustaining an audience for stage Shakespeare, and the ideological implications of consuming theatre on screen. It will be crucial reading for scholars of the 'live' theatre broadcast, and enormously helpful for scholars of Shakespeare on screen and in performance more broadly.

« Television Shakespeare » : l’expression a-t-elle encore un sens à une époque où Shakespeare à la télévision ne se réduit plus à la série BBC mais est devenu, notamment au fil des innovations technologiques, un concept de plus en plus hybride, porteur d’une infinie variété ? Ce volume offre au lecteur un examen précis d’adaptations télévisuelles des pièces shakespeariennes tout en questionnant les limites poreuses que le 21e siècle fait apparaître entre la télévision et les autres médias, Shakespeare semblant pouvoir ou devoir se prêter à toutes les métamorphoses.

The Shakespearean World takes a global view of Shakespeare and his works, especially their afterlives. Constantly changing, the Shakespeare central to this volume has acquired an array of meanings over the past four centuries. "Shakespeare" signifies the historical person, as well as the plays and verse attributed to him. It also signifies the attitudes towards both author and works determined by their receptions. Throughout the book, specialists aim to situate Shakespeare’s world and what the world is because of him. In adopting a global perspective, the volume arranges thirty-six chapters in five parts: Shakespeare on stage internationally since the late seventeenth century; Shakespeare on film throughout the world; Shakespeare in the arts beyond drama and performance; Shakespeare in everyday life; Shakespeare and critical practice. Through its coverage, The Shakespearean World offers a comprehensive transhistorical and international view of the ways this Shakespeare has not only influenced but has also been influenced by diverse cultures during 400 years of performance, adaptation, criticism, and citation. While each chapter is a freshly conceived introduction to a significant topic, all of the chapters move beyond the level of survey, suggesting new directions in Shakespeare studies – such as ecology, tourism, and new media – and making substantial contributions to the field. This volume is an essential resource for all those studying Shakespeare, from beginners to advanced specialists.

Authorizing Shakespeare on Film and Television examines recent film and television transformations of William Shakespeare's drama by focusing on the ways in which modern directors acknowledge and respond to the perceived authority of Shakespeare as author, text, cultural icon, theatrical tradition, and academic institution. This study explores two central questions. First, what efforts do directors make to justify their adaptations and assert an interpretive authority of their own? Second, how do those self-authorizing gestures impact upon the construction of gender, class, and ethnic identity within the filmed adaptations of Shakespeare's plays? The chosen films and television series considered take a wide range of approaches to the adaptative process - some faithfully preserve the words of Shakespeare; others jettison the Early Modern language in favor of contemporary idiom; some recreate the geographic and historical specificity of the original plays, and others transplant the plot to fresh settings. The wealth of extra-textual material now available with film and television distribution and the numerous website tie-ins and interviews offer the critic a mine of material for accessing the ways in which directors perceive the looming Shakespearean shadow and justify their projects. Authorizing Shakespeare on Film and Television places these directorial claims alongside the film and television plotting and aesthetic to investigate how such authorizing gestures shape the presentation of gender, class, and ethnicity.

This is a reference text on Shakespeare's works, times, life, and afterlives. It offers stimulating and authoritative coverage of every aspect of Shakespeare and his writings, including their reinterpretation in the theatre, in criticism, and in film.