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)

« 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.

Filming plays from a tetralogy of history plays implies specific problems and strategies. The papers in this volume show that the plays are parts of a series, and can hardly be staged or filmed without referring to one another. What does the big screen bring to the representation of history, battles and national issues? When do ideological interpretations stop being triggered by the text itself? By deciphering the different ways in which meaning is created and ideology is conveyed, whether it be through specific aesthetics, performances, intertextuality or cultural codes, the papers in this volume all take part in the on-going exploration of what Shakespeare's contrasting afterlives keep saying, not only about the dramatic texts but also about ourselves.

This book applies the videocassette to the study of Shakespeare on television and film. The result is that the films become texts, and Shakespeare in performance can be examined with the scholarly care that has been reserved for printed books.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of King Richard III, Janis Lull has added a new section to her introduction, in which she focuses on contemporary productions of the play as well as recent scholarly criticism. Lull emphasises the importance of women's roles in this popular drama but shows how the text has frequently been cut, rewritten and reshaped by directors and actors to enhance the role of Richard, often at the expense of female characters. The special relationship between King Richard III and Macbeth is also explored while the notes detail the play's language in terms that are easily accessible to contemporary readers.

Introducing key themes and the history of the play's performance and critical reception, this is a comprehensive guide to Richard III by leading international scholars.

Film adaptations of Shakespeare's plays are increasingly popular and now figure prominently in the study of his work and its reception. This Companion is a lively collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare's plays. Chapters have been revised and updated from the first edition to include the most recent films and scholarship. 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; 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.

This four-volume Companion to Shakespeare's Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism. Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare’s plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawning of the twenty-first century. This companion to Shakespeare’s histories contains original essays on every history play from Henry VI to Henry V as well as fourteen additional articles on such topics as censorship in Shakespeare’s histories, the relation of Shakespeare’s plays to other dramatic histories of the period, Shakespeare’s histories on film, the homoerotics of Shakespeare’s history plays, and nation formation in Shakespeare’s histories.

Every generation reinvents Shakespeare for its own needs, imagining through its particular choices and emphases the Shakespeare that it values. The man himself was deeply involved in his own kind of historical reimagining. This collection of essays examines the playwright's medieval sources and inspiration, and how they shaped his works. With a foreword by Michael Almereyda (director of the Hamlet starring Ethan Hawke) and dramaturge Dakin Matthews, these thirteen essays analyze the ways in which our modern understanding of medieval life has been influenced by our appreciation of Shakespeare's plays.

This collection models an approach to Shakespeare and cinema that is concerned with the other side of Shakespeare's Hollywood celebrity, taking the reader on a practical and theoretical tour through important, non-mainstream films and the oppositional messages they convey. The collection includes essays on early silent adaptations of 'Hamlet', Greenway's 'Prospero's Books', Godard's 'King Lear', Hall's 'A Midsummer Night's Dream', Taymor's 'Titus', Polanski's 'Macbeth', Welles 'Chimes at Midnight', and Van Sant's 'My Own Private Idaho'.