By Lynda E. Boose, Visit Amazon's Richard Burt Page, search results, Learn about Author Central, Richard Burt,
Shakespeare, The Movie brings jointly a magnificent line-up of individuals to contemplate how Shakespeare has been tailored on movie, television, and video, and explores the impression of this popularization at the canonical prestige of Shakespeare.
Taking a clean examine the Bard an his position within the video clips, Shakespeare, The Movie contains a choice of what's almost immediately to be had in filmic structure to the Shakespeare pupil or pupil, ranging throughout BBC tv productions, filmed theatre productions, and whole display diversifications via Kenneth Branagh and Franco Zeffirelli. motion pictures mentioned include:
* Amy Heckerling's Clueless
* Gus van Sant's My personal inner most Idaho
* Branagh's Henry V
* Baz Luhrman's William Shakespeare's Romeo and Juliet
* John McTiernan's Last motion Hero
* Peter Greenaway's Prospero's Books
* Zeffirelli's Hamlet.
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Additional info for Shakespeare, The Movie: Popularizing the Plays on Film, TV, and Video
148, no. 21, 88– 90. Crewe, Jonathan (1995) “In the Field of Dreams: Transvestism in Twelfth Night and The Crying Game,” Representations, 50:101–23. A. Weekly, December 27. Garber, Marjorie (1992) Vested Interests: Cross-Dressing and Cultural Anxiety, New York and London: Routledge. ——(1995) “Some Like It Haute,” World Art, 1, 30–3. Gritten, D. (1995) “Shakespeare Is One Happening Dude,” Los Angeles Times, December 27:39, 41. Hodgdon, Barbara (1994) “The Critic, the Poor Player, Prince Hamlet, and the Lady in the Dark,” in Shakespeare Reread: the Text and New Contexts, ed.
As Iago, McKellen gives a riveting performance, recorded primarily through close-ups that capture his developing paranoia or through framing that stresses his omnipresent voyeurism—as when, entering Desdemona’s bedroom for the first time, he maps it with a furtive glance, fixing its geography as though to give his fantasies a local habitation. Brother, father, valet, mother-hen, his military discipline takes form as obsessive tidiness: straightening papers, adjusting Roderigo’s collar, mixing the brew that will make Cassio drunk (and cleaning up after him), saving cigarette stubs in a little silver box, he seems indispensable to the garrison’s domestic order.
16 Reflecting on the production as it moved into film, Suzman writes: “Not even Paul Robeson, I imagined, could have said ‘Rude am I in my speech,’ and be entirely believed. In the event, it gave John an innocence, a sense of struggle, that a more Promethean actor, at home in the tongue, couldn’t possibly achieve. Better still, it gave him a mystery, an unknowable past, that would attract Desdemona and worry the hell out of most whites” (1988a:49). Yet however politically astute Suzman may be about energizing Kani’s black body, and its “native” identity, so as to trouble white spectators, she herself speaks a curiously conflicted language that, if not entirely accepting the text’s (racist) dictates, pulls in terms—“innocence,” mystery,” “an unknowable past”—common to British colonialist discourse about Africa and especially prominent in Conrad’s Heart of Darkness.