This book explores Shakespeare films as interpretations of Shakespeare's plays as well as interpreting the place of Shakespeare on screen within the classroom and within the English curriculum. Shakespeare on screen is evaluated both in relation to the play texts and in relation to the realms of popular film culture. The book focuses on how Shakespeare is manipulated in film and television through the representation of violence, gender, sexuality, race and nationalism. Cartmell discusses a wide range of films, including Orson Welles' Othello (1952), Kenneth Branagh's Much Ado About Nothing (1993), Peter Greenaway's Prospero's Books (1991), Baz Luhrmann's William Shakespeare's Romeo and Juliet (1996) and John Madden's Shakespeare in Love (1998).

An up-to-date survey of the key themes and debates surrounding screen adaptations and productions of Shakespeare's Othello.

This volume does not only provide the reader with diverging assessments of the Richard III films, but it also deploys a large array of methodologies used to study ‘Shakespeare on film’. What gives the volume its coherence is that it thoroughly interrogates what those films do with and to Shakespeare’s text and suggests that, at least for Shakespearean scholars, Shakespearean films are hybrid creatures. They are and are not films; they are and are not Shakespeare.Ce volume offre non seulement au lecteur un examen précis et pluriel des adaptations filmiques de Richard III mais il déploie tout l’éventail des méthodologies qui permettent d’étudier Shakespeare à l’écran. La cohérence de ce volume vient de ce qu’il propose des questionnements multiples sur ce que ces films font de Shakespeare et suggère que le film shakespearien est une créature hybride qui est et n’est pas un film, qui est et n’est pas Shakespeare. (Ouvrage en anglais)

From canonical movies to web series, this volume illuminates myriad forms of Romeo and Juliet on screen around the world.

This addition to the Shakespeare on Screen series reveals the remarkable presence of Macbeth in the global Shakespearean screenscape. What is it about Macbeth that is capable of extending beyond Scottish contexts and speaking globally, locally and “glocally”? Does the extensive adaptive reframing ofMacbeth suggest the paradoxical irrelevance of the original play? After examining the evident topic of the supernatural elements—the witches and the ghost—in the films, the essays move from a revisitation of the well-known American screen versions, to an analysis of more recent Anglophone productions and to world cinema (Asia, France, South Africa, India, Japan, etc.). Questions of lineage and progeny are broached, then extended into the wider issues of gender. Finally, ballet remediations, filmic appropriations, citations and mises-en-abyme of Macbeth are examined, and the book ends with an analysis of a Macbeth script that never reached the screen. Ce nouvel ouvrage de la série « Shakespeare à l’écran » révèle la présence remarquable de Macbeth dans le paysage filmique shakespearien à l’échelle mondiale. Comment expliquer qu’une pièce dont l’intrigue est ancrée dans une nation, l’Écosse, ait pu être absorbée par des cultures aussi diverses ? Les multiples adaptations de Macbeth suggèrent-elles, de manière paradoxale, une moindre pertinence de la pièce originelle ? Après avoir exploré la représentation des éléments surnaturels (les sorcières et le fantôme), le volume revisite les films américains « canoniques », les productions anglophones plus récentes et les versions d’autres aires culturelles (Asie, France, Afrique du Sud, Inde, Japon, etc.) Les questions de lignée et de descendance sont abordées, puis prolongées dans des articles sur la représentation du genre. Les versions dansées, les appropriations, les citations et les mises en abyme de Macbeth sont ensuite analysées, et ce parcours mène à un étrange objet – un scénario non filmé.

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.

How is a Shakespearean play transformed when it is directed for the screen? In this 2004 book, Sarah Hatchuel uses literary criticism, narratology, performance history, psychoanalysis and semiotics to analyse how the plays are fundamentally altered in their screen versions. She identifies distinct strategies chosen by film directors to appropriate the plays. Instead of providing just play-by-play or film-by-film analyses, the book addresses the main issues of theatre/film aesthetics, making such theories and concepts accessible before applying them to practical cases. Her book also offers guidelines for the study of sequences in Shakespearean adaptations and includes examples from all the major films from the 1899 King John, through the adaptations by Olivier, Welles and Branagh, to Taymor's 2000 Titus and beyond. This book is aimed at scholars, teachers and students of Shakespeare and film studies, providing a clear and logical apparatus with which to examine Shakespearean screen adaptations.

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.

Film adaptations of Shakespeare's plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare's plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives: as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare's women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong coverage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided.

The second Oxford edition of Shakespeare's Complete Works reconsiders every detail of their text and presentation in the light of modern scholarship. The nature and authority of the early documents are re-examined, and the canon and chronological order of composition freshly established. Spelling and punctuation are modernized, and there is a brief introduction to each work, as well as an illuminating and informative General Introduction. Included here for the first time is the play The Reign of King Edward the Third as well as the full text of Sir Thomas More. This new edition also features an essay on Shakespeare's language by David Crystal, and a bibliography of foundational works.