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Cambridge University Press 978-0-521-87199-0 - Shakespeare on Silent Film: An Excellent Dumb Discourse Judith Buchanan Index More information Index Bold type indicates a central-case reference; bold italics indicates reference to a figure; the suffix n indicates reference to a note. Abel, Richard, 40n, 82n company logo, 116; the ‘Biograph Girl’, Achterberg, Fritz, German film actor, 231 Florence Lawrence, 3, 143 acting editions, 47, 86, 156, 159, 161 The Kissing Scene Between Trilby and Little acting manuals, 46, 174–75, 176, 177 Billee (1896), 61 acting styles, in transition, 174 duel scene from Macbeth (Bitzer, 1905), considered characteristic of particular 74–75n nations, 174, 178, 187–89 Americanism, of production company, films facial expressivity, 139–41, 144, 231–32, 241, and approach to Shakespeare, 112–18 249–50 anachronisms, 193, 197, 237 histrionic or excessive, xxii, 62, 63, 64, 166, androgyny, 20–21, 224–26, 226, 227 167, 172–74, 178–80, 181, 183–85, 229, Angeli, Diego, Italian translator of 230, 240, 241, 242, 246 Shakespeare, 70n ‘mugging’ (the mouthing of inaudible words Angiers, battle of, tableau interpolated in Tree’s for the camera), 63, 171, 172, 198–99 stage King John (1899), 64, 70n naturalistic/verisimilar/minimalist, 164, 170, Angus, Ian, xixn 174, 181, 183, 228–32, 242, 249–51 Anthony, Barry, 58n, 59n, 62n, 64–65n, 67n, pantomimic codes, 19, 46, 49, 173–78, 176, 68n, 69n, 70n 177, 181 Antony and Cleopatra, Shakespeare play advertising, see marketing strategies Antoine et Cléopatre, ballet (1761), 49n Ambrosio-Film, Italian film production Antony and Cleopatra, Vitagraph film (Kent, company 1908), 75, 108, 119n, 130 company and its distribution, 126, 186 Anzi, Anna Cavallone, 164n, 166n, 178n Otello/Othello (Frusta, 1914), 21, 90–91, 94, 248 Archer, William, ‘pamphleteer’, 175n, 178n American film industry – institutional struc- archives and libraries tures, exhibition conventions and national American Film Institute (AFI), 203n; self-consciousness, 105–09, 112–15, BFI National Archive (formerly 190–96, 217; satirised, 192–98, 212–13, the National Film and Television see also individual American production Archive): 79n, 80n, 106n, 149–50n, companies AMBC, Edison, Essanay, 187, 217n, 246n; British Library (BL), Fox, Kalem, Lubin, Metro, Rex, Sam London, 43n, 45n; Bodleian, The, Taylor, Selig, Shakespeare Film Company, Oxford, 160n, 175–76n; Cinématèque Thanhouser, Triangle-Reliance, Vitagraph de Toulouse: 150n; Cineteca di American Mutoscope and Biograph Company Bologna: 150n; Il Centro Sperimentale (AMBC), film production company, also di Cinematographia, Rome (CSC): known as Biograph 80n; Deutsches Institut für Film, company attributes and exhibition Frankfurt: 217n; Folger Shakespeare conventions, 57n, 105, 106, 107, 109 Library, Washington DC (Folger): 33n, 299 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87199-0 - Shakespeare on Silent Film: An Excellent Dumb Discourse Judith Buchanan Index More information 300 Index archives and libraries (cont.) Bandmann-Palmer, Millicent, stage actress (as 80n, 106n, 198n, 201n, 217n; George Hamlet), 220 Eastman House, Rochester, New York Bangs, John Kendrick, 192 (GEH), 31, 33n; MOMA, New York, ‘banners’, see ‘scrolls’ 185–86n; Motion Picture and Recorded Bara, Theda, screen actress (as Juliet), 2, 4, 20, SoundDivision,LibraryofCongress, 203–12, 204, 209, 251 Washington DC (LOC), 52n, 77n, Barber,XenophonTheodore,26n 80n, 91n, 97, 128, 170n, 198n, 202n, Bardèche, Maurice, 229 203, 221n, 222;NationalArchives,64n; Barker,HarleyGranville,Britishactorand Nederlands Filmmuseum, 72n; New theatre director, 136 York Public Library (NYPL), 193n; Barker,WilliamG,filmdirectorandproducer, Palace Theatre Archive, 66n; Russian 2, 72, 149, 184 State Film Archive, 91n; Theatre Barker Motion Photography, British film Museum,CoventGarden,London, production company 60n, 70n, 152n; University of Bristol Hamlet (Barker, 1910), 149 Theatre Collection, 70n King Henry VIII (Barker, 1911), 2, 72, 184, 197n archives/archiving priorities, xxii, 2n, 29n, 31, Barleon, Amelia, American screen actress, 128 40, 64n, 66n, 70n, 71n, 252 Barnes,J.H.,stageandscreenactor,156 artistic representations, of Shakespearean Barrie, James (J.M.), writer/director of The Real scenes, xxn, 146, 156–57n Thing at Last (Bushey Heath co., 1916), Shakespearean paintings used in lantern 2–3, 19–20, 77, 190–98, 202, 212, 213; sequences, 35–38 scenarist for AsYouLikeIt(1936), 217n art works appearing in, or animated by, Barry, Iris, xviin, 229n films, 121–24, 141, 146, 156–57, 248 Bartalotta, Gianfranco, 168n see also ‘Death of Caesar’, ‘King Lear in Bate, Jonathan, 53 the Storm’ and entries under Ophelia, Battle Hymn of the Republic, The, non- Hamlet, Othello and Romeo and Juliet Shakespearean film, see Vitagraph Art-Film, Asta Nielsen’s German film Bayne, Beverly, screen actress, 20, 202, 205–11, production company 208, 215–16 Hamlet,DramaofVengeance(Gade, 1920), 5, Becker,CarlLudwigFriedrich,artist,37, 38n 7, 135, 185–86n, 217–40 Benjamin, Walter, 20n AsYouLikeIt,Shakespeare play Benson,Frank,Britishstageandscreenactor E.W.Godwin’s open-air production (1885), (as Richard III), 4, 77 50–51 Berg,IreneandSamuel,arrangersofmusical lantern slide sequences, 30, 31, 74n scores, 211n, 216 SevenAgesofMan,Edison film (director Bernhardt, Sarah, French stage and screen unknown, 1905), 74n actress, 3, 15n, 41, 72, 74n, 77, 148, 220, AsYouLikeIt,Kalemfilm(Buel,1908), 75 221, 223 AsYouLikeIt,Vitagraph 3-reel film Bertini,Francesca,Italianscreenactress,3, (Blackton and Kent, 1912), 108, 130, 133 90, 125 AsYouLikeIt,Inter-Alliedfilm(Czinner, biblicalsubjects,inlanternslides,27, 28; 1936), 217n in films, 17, 108, 170n Aubert, Charles, 175, 177, 178 Biograph,shortenedformofTheAmerican Aumont, Jacques, 163 MutoscopeandBiographCompany (AMBC) q.v.,andofitsdaughter Baines, Richard Manwaring, lanternist and company, The British Mutoscope and slide collector, 27n BiographCompany(BMBC),q.v. Ball, Robert Hamilton, xviiin, 2n, 4, 6, 15n, 52n, Birtwhistle, Richard, collector, 113n 61, 69, 70–72, 74–75n, 77–78, 90n, 94n, Black Castle, The, play in unpatented 119n, 126n, 127n, 130n, 131n, 132n, 148n, theatre, 45 149n, 186n, 187, 191, 198n, 199n, 201n, 203n, Black Diamond Express, The, early Edison film, 205, 206n, 210n, 211n, 217n, 220, 221n 145–46 ballet, 9, 46, 49, 56 blacking-up, 241, 243–46, 244, 245 ‘ballet of action’, speechless stage production Blackton,J.Stuart,Vitagraphdirector/ with recitative, 43–45 production manager, 113, 115, 130, 146–47 Bancroft, Squire, theatre manager, 53 Blaisdell, George, 9n, 203n, 207n © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87199-0 - Shakespeare on Silent Film: An Excellent Dumb Discourse Judith Buchanan Index More information Index 301 Blood-Red Knight, The, play in unpatented Brothers Karamazov, The (Buchowetzki, 1921), theatre, 45 non-Shakespearean film, 240 Bogart, Humphrey, 223 Brown, Richard, 58n, 59n, 62n, 64–66n, 68n, ‘boomer’, category of lecturer, q.v. 69n, 70n Boose, Lynda E., 219n Browne, Gordon, artist, 156–57n Booth, Michael, 50n, 52n Brownlow, Kevin, 22n, 75n Bordwell, David, 2n, 7n, 20n, 156n, 250n Brutus, Cines film (1910), see Julius Caesar Borton, Terry, American lanternist and lantern Buchanan, Judith, xxii, 2–3, 29n, 35n, 38n, historian, 26n, 36 60n, 62, 127n, 137n, 149n, 152n, 201n Bourchier, Arthur, English stage and screen Büchner, Georg, German playwight, 240 actor, 184, 197, 250 Buchowetzki, Dimitri, Russian film director in Bowser, Eileen, 18n German film industry, 21, 217, 240–49 Bragaglia, Leonardo, 164n Bunyan, John, 28 Brandt, Mathilde, German film actress (as Burbage, Richard, 166–67 Gertrude), 229 Burrows, Jon, xviiin, 72n, 160n, 161n, 175n, Brasillach, Robert, 229 189n, 201n Brecht, Berthold, 20n Burt, Richard, 219n Brewster, Ben, 24n Bush, W. Stephen, moving picture lecturer and Bristol, Michael, 114 writer for MPW, xxi, 10–11, 15, 42, 121n, British Actors’ Film Company, 192n, 196 206n British film industry, 57, 79 Bushey Heath Co, British film production acting compared with continental styles, company 187–89 The Real Thing at Last, lampooning output morally condemned, 57–60 comparative productions of Macbeth preference for word-driven film-making, in (Barrie and MacBean, 1916), 2–3, comparison with Hollywood, 199 19–20, 77, 190–201, 202, 212–13 satirised, in comparison with American film Bushman, Francis X., American screen actor, 4, industry, 190–98 20, 202, 207, 208, 209, 215–16 its Shakespeare films critically preferred to Italian ones, 185–87 Caesar and Cleopatra, play by Bernard Shaw, 155 stops making Shakespeare feature films, 217 Calvert, Louis, actor, 64 see also individual British production Capelli, Dante, actor, 3, 80, 198n companies Barker, British Mutoscope ‘Carados’, see H. Chance Newton and Biography Company, Broadwest, Cardinal Wolsey, Vitagraph film from Henry Bushey Heath, Clarendon, Co-operative VIII (Trimble, 1912), 108 Cinematograph Company, Gaumont, Cardullo, Bert, 111n Inter-Allied, Masters, Piccadilly, Carmen, two non-Shakespearean films, subject Walderdaw; and individual British of rival releases, 203n films, in partic. King John (1899), The Caserini, Mario, Italian film director, 80n, Tempest (1908), Richard III (1911), Hamlet 198n (1913), The Real Thing at Last (1916) casting, 79, 85, 86n, 110, 133, 135, 137, 138–39, British Film Institute (BFI), London 144, 152, 190, 192–94, 198, 202–04, 207, DVD Silent Shakespeare, 4, 62, 71n, 77n, 234, 240, 242, 250–51 79n, 91n, 106n, 198n, 260 Cavell,
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    Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M.

  • Front Matter

    Cambridge University Press 978-1-107-14168-1 — The Merchant of Venice William Shakespeare , Edited by M.M. Mahood , Introduction by Tom Lockwood Frontmatter More Information THE NEW CAMBRIDGE SHAKESPEARE generaleditor Brian Gibbons, University of Münster associate generaleditor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. THE MERCHANT OF VENICE For this updated edition of one of Shakespeare’s most problematic plays, Tom Lockwood has added a new introductory section on the latest scholarly trends, performance and adaptation practices which have occurred over the last two decades. Investigating the latest critical frames through which the play has been interpreted, the updated introduction also focuses on recent international performances on stage and screen (including Al Pacino’s performances on film and in Daniel Sullivan’s production in New York, the Habima National Theatre’s production for the Globe to Globe Festival, Jonathan Munby’s touring production for the Globe performed in London, New York and Venice, and Rupert Goold’s production for the Royal Shakespeare Company). Finally, new forms of adaptation are considered: a perfor- mance transposed to the different generic mode of a New York auction room, and the remaking of the play in Howard Jacobson’s 2016 novel, Shylock Is My Name. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-14168-1 — The Merchant of Venice William Shakespeare , Edited by M.M.