DOCSLIB.ORG

The Cambridge Companion to Shakespeare on Screen Edited by Russell Jackson Index More Information

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Cambridge Companion to Shakespeare on Screen Edited by Russell Jackson Index More Information Cambridge University Press 978-1-108-42116-4 — The Cambridge Companion to Shakespeare on Screen Edited by Russell Jackson Index More Information INDEX Note: Performance versions of Shakespeare’s plays are listed under the play’s title by date and medium (film, stage, etc.). Where applicable, the new title of the version is noted in brackets. A Fistful of Dollars (film, 1968), 175 Apocalypse Now (film, 1979), 123 A Midsummer Night’s Dream Armin, Robert, 75 (play), 67, 134, 137, 141, 144 Arnshtam, Lev, 93 film, 1909, 24 As You Like It film, 1935, 29–30, 134–5, 136–8 (play), 67 film, 1969, 134, 136–8 film, 1908, 13 film, 1996, 134, 137–8 film, 1936, 67, 73, 76 film, 1999, 134, 139–40 film, 1992, 68, 75–6 stage, 1994, 137 film, 2006, 68, 70–1, 77, 226, 231–2 television, 2005, 71, 74 stage, 1998, 225 A Place Calling Itself Rome (play, 1973), 121 Asbury, Kelly, 95 A Streetcar Named Desire (film, 1950), 34 Ashford, Rob, 232 A Thousand Acres (novel), 162 Auslander, Philip, 44 A Trip to the Moon (film, 1902), 174 Ayliff, H.K., 18 Abela, Alexander, 100 Ackroyd, Barry, 120 Bale, Christian, 140 Acosta, Armando, 95 Ball, Robert Hamilton, 22 Adaptation (film, 2002), 37 Bara, Theda, 16, 24 Agustí, Clara Escoda, 126 Barbican (theatre), 49 Aldridge, Ira, 100 Barker, Martin, 40, 47 All is True (film, 2018), 5, 234 Barnes, Jennifer, 32 All Quiet on the Western Front (film, Barrie, J.M., 16, 174 1930), 174 Barrit, Desmond, 138 All’s Well That Ends Well Barthes, Roland, 28 stage/livestream, 2010, 50 Barton, John, 105 Almeida (theatre, London), 120 Bate, Jonathan, 130 Almereyda, Michael, 3, 85, 88 Bates, Alan, 221 American Mutoscope and Biograph Bayne, Beverly, 16 Company, 12 Bazin, André, 28, 192 An Age of Kings (television series, 1960), 105 BBC Shakespeare Plays/BBC Shakespeare Anderegg, Michael, 156, 189 Collection (television series, 1978–85), Andrew, Dudley, 55 105, 119, 175, 178, 180, 182 Angels in America (play, 1993), 93 BBC Worldwide, 108 Annaud, Jean-Jacques, 220 Beale, Simon Russell, 108 Anonymous (film, 2011), 5 Ben-Hur (film, 1959), 127 269 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42116-4 — The Cambridge Companion to Shakespeare on Screen Edited by Russell Jackson Index More Information index Benedek, László, 128 Brook, Peter, 44, 79, 120, 129, 161–6, Bennett, Rodney, 141 168–72, 187, 222, 255, 260 Benny, Jack, 32 The Empty Space (critical/theoretical Benson, Frank, 13, 42 work), 164 Bergner, Elisabeth, 73 Brooks, Richard, 215 Berkeley, Busby, 226 Brown, Alan, 95 Berlin, Irving, 76, 226 Buchanan, Judith, 42, 44 Bernhardt, Sarah, 11 Buchowetski, Dmitri, 20, 154 Bernini, Gian Lorenzo, 128 Buffy the Vampire Slayer (television Bernstein, Leonard, 93 series), 75 Bhansali, Sanjay Leela, 97 Bulman, James C., 151 Bhardwaj, Vishal, 4, 54–5, 85, 101, Burge, Stuart, 99, 154, 233 237–48 Burke, Alfred, 137 Nude Poems (2018), 246 Burnett, Mark Thornton, 70, 78, 87, 91, 198, Billy (television series), 225 203, 206, 211, 256, 258 Biograph (film company), 13 Burton, Richard, 42–3, 45, 69–70, 180–1, Birmingham Repertory Company, 18 214, 216–7 Birth of a Nation (film, 1915), 30 Burton, Tim, 128 Bishop, Terry, 57 Bushman, Francis X., 16, 92 Blackadder (television series), 183 Butler, Gerard, 122, 179 Blackton, Stuart, 92 Blecher, Sara, 101–2 Cagney, James, 29, 135 Blessed, Brian, 225 Calhern, Louis, 36 Blom, August, 98 Cantinflas, 93 Bloom, Harold, 194 Carlei, Carlo, 95, 97 Bogdanov, Michael, 45, 105, Cartelli, Thomas, 154 182 Casablanca (film, 1942), 226 Bogdanovich, Peter, 188, 190 Casavella, Francisco, 60 Bond, Ruskin, 247 Caserini, Mario, 98 Bondarchuk, Sergei, 99 Casson, Philip, 90 Booth, Alan, 208 Castellani, Renato, 32, 93 Booth, Douglas, 95 Castro, Talita, 60 Borde, Raymond, 205 Cat on a Hot Tin Roof (film, 1958), Bordwell, David, 5 215 Bortolotti, Gary R., 37 Chaplin, Charles, 174 Boyle, Danny, 49 Chastain, Jessica, 124 Bradley, A.C., 194 Chaumeton, Etienne, 205 Branagh, Kenneth, 4, 28, 50, 68, 70, 73, 75–7, Chawla, Juhi, 94 99, 105, 107, 110, 155, 159, 174, 216, Chiaki, Minoru, 202 224–34, See also Kenneth Branagh Cinderella (film, 2015), 234 Theatre Company Cines (film company), 13 Brando, Marlon, 34–6, 38 Citizen Kane (film, 1941), 194, 226 Brandt, Mathilde, 20 Clapp, Susannah, 120 Brazil (film, 1985), 127 Clarendon (film company), 13–14 Bridge Theatre (London), 50 Close, Glenn, 220 Briers, Richard, 225 Cloutier, Suzanne, 99, 156 British and Colonial (film company), Cobos, Juan, 194 180 Cold Feet (television series), 72 British Co-operative Cinematograph Colleran, Bill, 42 Company, 13 Collick, John, 53 British Mutoscope and Biograph Collins, Lynn, 153 Company, 10 Columbia Pictures, 32 Broadway Film Company, 14 Compton, Fay, 156 270 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42116-4 — The Cambridge Companion to Shakespeare on Screen Edited by Russell Jackson Index More Information index Cooke, Dominic, 108 Dmytryk, Edward, 32 Coppola, Francis Ford, 123 Doctor Who (television series), 45 Coriolanus Doctor Zhivago (film, 1965), 226 (play), 4, 131, 173, 175–6, 183 Donaldson, Peter S., 130, 159 film, 2011, 119–25, 128, 174–5, Donati, Danilo, 216 178–9 Donmar Warehouse (theatre, London), 41, stage, 1977, 175 50, 176 stage, 1994, 175 Donner, Richard, 220 stage, 2000, 120 Doran, Gregory, 41, 46–7, 51, 89, stage/livestream, 2014, 44, 50, 176 253 stage/livestream, 2017, 175–7 Dostoevsky, Fyodor, 200 stage/television, 2006, 175 Downing, Carolyn, 177 stage/video, 2006, 177 Downton Abbey (television series), 111 stage/video, 2006, 177 Doyle, Matt, 95 television, 1965, 175–76 Doyle, Patrick, 225, 233 television, 1984, 175, 178 Duncan, Lindsay, 137–8 Coursen, H.R., 114 Duncan-Jones, Katherine, 121, 124 Cox, Brian, 120 Croft, Emma, 68 Eastwood, Clint, 121 Crotty, Derbhle, 153 Eberhardt, Jennifer, 149, 159 Crowdus, Gary, 120 Eccleston, Christopher, 100, 158 Crowl, Samuel, 2, 194, 216, 234 Edelman, Charles, 151 Cukor, George, 29–30, 32, 92 Edward Scissorhands (film, 1991), 128 Cumberbatch, Benedict, 49, 110 Edzard, Christine, 68, 75–6 Cumming, Alan, 127 Egerton, Nigel, 111 Curtis, Simon, 224 Eisenstein, Sergei, 200 Curtiz, Michael, 226 Electronovision, 42, 44 Cymbeline Elton, Ben, 234 film, 1913, 14 English Shakespeare Company, 45, 105 film, 2014 (Anarchy. Ride or Die), 3 Epstein, Jacob, 122 Czinner, Paul, 67, 73 Evans, Maurice, 197 Everett, Rupert, 140 D’Ambrosi, Dario, 126 Eyre, Richard, 108 Dahl, Oleg, 53 Ezaki, Kohei, 201 Daves, Delmer, 32 Davies, Andrew, 100, 157 Fairbanks, Douglas, 21, 29, 33, 69, Davies, Serena, 113 180–2 Day, Simon Paisley, 181 Falena, Ugo, 98 de Graft, Joe, 57 Fassbender, Michael, 81, 90 de Havilland, Olivia, 29 Fatal Attraction (film, 1987), 220 De Niro, Robert, 128 Fellowes, Julian, 95 Dead Again (film, 1991), 233 Feng, Xiaogang, 57 Dearden, Basil, 99 Fenn, Harry, 124 Del Sarto, Daniel, 60 Feore, Colm, 127 Delgado, Miguel M., 93 Ferretti, Dante, 127 Dench, Judi, 90, 225 Ffrangçon-Davies, Gwen, 18 Devgan, Ajay, 54, 101 Fickman, Andy, 71 Dews, Peter, 105 Fiennes, Joseph, 120 Dexter, John, 99, 154 Fiennes, Ralph, 119–25, 128, Diego, Juan, 59 175–79 Dieterle, William, 29, 134–40 Fillion, Nathan, 75 Diop, Makena, 100 film noir, 32, 205–6 Dirisu, Sope, 175–6 Findlay, Alison, 90 271 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42116-4 — The Cambridge Companion to Shakespeare on Screen Edited by Russell Jackson Index More Information index Findlay, Polly, 48 Hall, Peter, 134, 136–40 Finlay, Frank, 156–7 Hamlet Firefly (television series), 75 (play), 61, 79, 85, 234 Fishburne, Laurence, 99, 155 film, 1900 (duel scene), 11 Fitter, Chris, 227 film, 1908, 13 Fitzmaurice, Tony, 85 film, 1920, 19, 20 Fleming, Renée, 50 film, 1942 (To Be or Not To Be), 32 Flockhart, Calista, 140 film, 1948, 5, 32–3, 35–6, 43, 89, 197, Foakes, R.A., 173, 183 220, 228 Ford, John, 32, 200 film, 1959 (Der Rest ist Schweigen/The Rest Four Weddings and a Funeral (film, 1994), 74 is Silence), 61–2 Fox (film company), 16 film, 1960 (The Bad Sleep Well), 54, Franco, Dave, 97 204–6 Frankenstein (play, 2010), 49 film, 1964 (Gamlet), 52–3, 83–5 Fraser, Laura, 127 film, 1965 (Hamile), 57–8 French, Emma, 28 film, 1990, 213, 219–21 Freud, Emma, 50 film, 1994 (The Lion King), 79–80 Friedman, Michael D., 40, 44 film, 1995 (In The Bleak Midwinter), Friedrich, Caspar David, 84, 229 229, 234 Frusta, Arrigo, 98 film, 1996, 226, 228–31, 234–5 Fujiwara, Kamatari, 205 film, 2000, 3, 85, 88–9 Furse, Roger, 89 film, 2006 (El Triunfo/The Triumph), 59–60 Gaby, Rosemary, 107 film, 2006 (The Banquet), 57 Gade, Svend, 19 film, 2011 (Cigán/Gypsy), 62–3 Gambour, Efin, 95 film, 2014 (Haider), 55, 85, 237–8, 243–4, Game of Thrones (television series), 3, 246–7 107, 111 film, 2018 (Ophelia), 97 Garber, Marjorie, 210 stage, 1988, 225 Garfield, Leon, 99 stage, 1992, 225 Garrick Theatre (London), 233 stage/livestream, 2015, 46, 49–50 Garrison, John, 125 stage/video, 1964, 42–5 Garson, Greer, 36 stage/video, 2009, 89 Gaumont (film company), 13 Hands, Terry, 175 Genette, Gérard, 29 Hapgood, Robert, 206 Geraghty, Christine, 27 Harada, Mieko, 209 Gershwin, George, 226 Harris, Richard, 86 Gibson, Mel, 220–1 Harry Potter (film franchise), 111 Gielgud, John, 18, 35–6, 42, 195, 197 Hartnett, Josh, 102, 157 Gilbert, John, 33 Harvey, Tim, 225 Gilliam, Terry, 127 Hashim, Razif, 57 Girvan, Anna, 41 Hashimoto, Shinobu, 204 Globe to Globe Festival (2012), 48 Hawes, Keeley, 87, 158 Gone With The Wind (film, 1939), 229 Hawke, Ethan, 88 Goodman, Henry, 151, 153 HBO (Home Box Office), 71 Goold, Rupert,
Load more

Recommended publications
  • Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
    Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • “Do Not Consider My Words As Affirmative
    Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης Σχολή Καλών Τεχνών Τμήμα Θεάτρου Πρόγραμμα Μεταπτυχιακών Σπουδών Η Λαίδη Μακμπέθ στον κινηματογράφο Χριστίνα Καμμά Μάιος 2009 Υπεύθυνος καθηγητής: Ιωάννης Λεοντάρης Περιεχόμενα Ενότητες Σελίδες 1.Εισαγωγή 4 2. Η γυναίκα στην αναγεννησιακή Αγγλία 6 3. Θεωρητικές προσεγγίσεις της Λαίδης Μακμπέθ 9 3.1. Σκηνή του δείπνου και της υπνοβασίας της Λαίδης Μακμπέθ 19 4. O Μακμπέθ στον κινηματογράφο 20 4.1. Μελέτη των κινηματογραφικών αποδόσεων του Μακμπέθ κατά τον 20ο αιώνα 20 4.2. Macbeth του Orson Welles : Ένας διαχρονικός Μακμπέθ 26 4.2.1. Παγανιστική και χριστιανική ατμόσφαιρα στο έργο 29 4.2.2. Σκηνικός χώρος: Ανάμεσα σε κινηματογράφο και θέατρο 30 4.2.3. Σκηνοθετικές επιλογές: η χρήση της κάμερας 31 4.2.4. Η χριστιανική φιγούρα της Λαίδης Μακμπέθ του Welles 32 4.3. The Throne of Blood του Akira Kurosawa 34 4.3.1.Κάστρο και Δάσος : Δύο χώροι σε αλληλεπίδραση 36 4.3.2.Asaji: Η Λαίδη Μακμπέθ της Isuzu Yamanda 38 4.4. The Tragedy of Macbeth του Roman Polanski 41 4.4.1.Οι θεατές στη θέση των πρωταγωνιστών 43 4.4.2. Σκηνή της υπνοβασίας: Η γυμνή Λαίδη Μακμπέθ 45 5.Συμπεράσματα 47 6.Παράρτημα 50 6.1. Πίνακας Α : Κινηματογραφικές αποδόσεις του Μακμπέθ κατά τον 20ο αιώνα 50 2 6.2. Πίνακας Β : Κινηματογραφικές ταινίες εμπνευσμένες από το σεξπιρικό Μακμπέθ 52 7. Βιβλιογραφία 53 7.1.Μελέτες 53 7.2.Άρθρα – Συλλογικοί τόμοι 55 7.3.Υλικό από διαδίκτυο 56 7.4.Φιλμογραφία 56 3 1. Εισαγωγή Το έργο του Σέξπιρ υπήρξε -και εξακολουθεί να είναι- ισχυρότατο κίνητρο δημιουργίας για πολλούς σκηνοθέτες, παραγωγούς και ηθοποιούς του κινηματογράφου, από το τέλος του 19ου αιώνα.
    [Show full text]
  • (Non-)Sense in King Lear by Carolin Roder
    Wissenschaftliches Seminar Online Deutsche Shakespeare-Gesellschaft Ausgabe 5 (2007) Shakespearean Soundscapes: Music – Voices – Noises – Silence www.shakespeare-gesellschaft.de/publikationen/seminar/ausgabe2007 Wissenschaftliches Seminar Online 5 (2007) HERAUSGEBER Das Wissenschaftliche Seminar Online wird im Auftrag der Deutschen Shakespeare-Gesellschaft, Sitz Weimar, herausgegeben von: Dr. Susanne Rupp, Universität Hamburg, Institut für Anglistik und Amerikanistik, Von-Melle-Park 6, D-20146 Hamburg ([email protected]) Prof. Dr. Tobias Döring, Institut für Englische Philologie, Schellingstraße 3 RG, D-80799 München ([email protected]) Dr. Jens Mittelbach, Staats- und Universitätsbibliothek Göttingen, Platz der Göttinger Sieben 1, 37073 Göttingen ([email protected]) ERSCHEINUNGSWEISE Das Wissenschaftliche Seminar Online erscheint im Jahresrhythmus nach den Shakespeare-Tagen der Deutschen Shakespeare-Gesellschaft und enthält Beiträge der Wissenschaftler, die das Wissenschaftli- che Seminar zum Tagungsthema bestreiten. HINWEISE FÜR BEITRÄGER Beiträge für das Wissenschaftliche Seminar Online sollten nach den Richtlinien unseres Stilblattes formatiert sein. Bitte laden sie sich das Stilblatt als PDF-Datei von unserer Webseite herunter: http://www.shakespeare-gesellschaft.de/uploads/media/stilblatt_manuskripte.pdf Bitte senden Sie Ihren Beitrag in einem gebräuchlichen Textverarbeitungsformat an einen der drei Herausgeber. INTERNATIONAL STANDARD SERIAL NUMBER ISSN 1612-8362 © Copyright 2008 Deutsche
    [Show full text]
  • Introduction: Shakespeare, Spectro-Textuality, Spectro-Mediality 1
    Notes Introduction: Shakespeare, Spectro-Textuality, Spectro-Mediality 1 . “Inhabiting,” as distinct from “residing,” suggests haunting; it is an uncanny form of “residing.” See also, for instance, Derrida’s musings about the verb “to inhabit” in Monolingualism (58). For reflections on this, see especially chapter 4 in this book. 2 . Questions of survival are of course central to Derrida’s work. Derrida’s “classical” formulation of the relationship between the living-on of a text and (un)translat- ability is in Parages (147–48). See also “Des Tours” on “the necessary and impos- sible task of translation” (171) and its relation with the surviving dimension of the work (182), a reading of Walter Benjamin’s “The Task of the Translator.” In one of his posthumously published seminars, he stresses that survival—or, as he prefers to call it, “survivance”—is “neither life nor death pure and simple,” and that it is “not thinkable on the basis of the opposition between life and death” (Beast II 130). “Survivance” is a trace structure of iterability, a “living dead machine” (131). To Derrida, what is commonly called “human life” may be seen as one of the outputs of this structure that exceeds the “human.” For a cogent “posthumanist” understanding of Derrida’s work, and the notion of the trace in particular, see Wolfe. 3 . There are of course significant exceptions, and this book is indebted to these studies. Examples are Wilson; Lehmann, Shakespeare Remains ; Joughin, “Shakespeare’s Genius” and “Philosophical Shakespeares”; and Fernie, “Introduction.” Richard Burt’s work is often informed by Derrida’s writings.
    [Show full text]
  • Macbeth in World Cinema: Selected Film and Tv Adaptations
    International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 179-188 © TJPRC Pvt. Ltd. MACBETH IN WORLD CINEMA: SELECTED FILM AND TV ADAPTATIONS RITU MOHAN 1 & MAHESH KUMAR ARORA 2 1Ph.D. Scholar, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India 2Associate Professor, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India ABSTRACT In the rich history of Shakespearean translation/transcreation/appropriation in world, Macbeth occupies an important place. Macbeth has found a long and productive life on Celluloid. The themes of this Bard’s play work in almost any genre, in any decade of any generation, and will continue to find their home on stage, in film, literature, and beyond. Macbeth can well be said to be one of Shakespeare’s most performed play and has enchanted theatre personalities and film makers. Much like other Shakespearean works, it holds within itself the most valuable quality of timelessness and volatility because of which the play can be reproduced in any regional background and also in any period of time. More than the localization of plot and character, it is in the cinematic visualization of Shakespeare’s imagery that a creative coalescence of the Shakespearean, along with the ‘local’ occurs. The present paper seeks to offer some notable (it is too difficult to document and discuss all) adaptations of Macbeth . The focus would be to provide introductory information- name of the film, country, language, year of release, the director, star-cast and the critical reception of the adaptation among audiences.
    [Show full text]
  • Visual Media Use and Intermediality in Shakespeare Productions
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository STRANGE BEDFELLOWS? VISUAL MEDIA USE AND INTERMEDIALITY IN SHAKESPEARE PRODUCTIONS By SHARI LYNN FOSTER A thesis submitted to the University of Birmingham for the degree of Masters of Literature College of Arts and Law School of Humanities Shakespeare Institute University of Birmingham October 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Drawing on archive material, reviews and personal observation, this thesis examines the use of visual media in stage productions of Shakespeare’s plays. Utilizing examples from the period between 1905 and 2007, the thesis focuses on intermedial productions, explores the media use in Shakespeare productions, and asks why certain Shakespeare plays seem to be more adaptable to the inclusion of visual media. Chapter one considers the technology and societal shifts affecting the theatre art and the audience and Klaus Bruhn Jensen’s three level definition of intermediality which provides a framework for the categorizing the media usage within Shakespeare productions.
    [Show full text]
  • 2020 Rafael Camisassa
    Rafael Camisassa 2020 WORK SAMPLE Graphic Design www.rafael-camisassa.com Invisiblepay Invisiblepay HRS INVISIBLEPAY brand identity / web design www.invisiblepay.co [password: invisiblepay] / 2019 INVISIBLE PAY PRODUCTS COMPLETING THE CYCLE Invisible Pay offers two configurations and you can choose whether Payment, covering everything from pay to reclaim, is the core adoption or not to select central payments. driver for all travel programs PRODUCTS Smart Prime Intelligent Sourcing One central settlement statement Expense Rate Centrally paid hotel invoice with positive cash-flow effect Management Loading Level 3 data for easier VAT reclaims INVISIBLE PAY Forward invoice into expensing tool Data Management Process Check and corrent hotel invoice according to VAT regulation Collect hotel invoice Payment Rate Solutions Protector Forward payment instrument to hotel and guarantee acceptance Include payment instrument in booking Travel Search Services & Book HRS end-to-end lodging service Together with you, our dedicated payment solutions experts will identify the right setup. Invisible Pay adds a holistic payment solution to the existing HRS cycle www.hrs.com/corporate CHALLENGES WITH PAYMENT AT HOTELS BENEFITS FOR ACCOUNTING VALUE PROPOSITION CUSTOMIZED SETUP Cost reduction through consoli- 99% correct invoices Invisible Pay seamlessly fits into the travel and expense processes and integrates with dated settlement statement (travel policy, amount and tax) the leading OBEs and payment providers, to offer a single solution for all travelers. Efficient reconciliation of Paperless invoice management invoices with credit card charges Level 3 data insights Positive cash flow effect Efficient VAT reclaims Time consuming Non-compliant Incorrect Lack of compliance Positive cash Seamless integration Reconciliation Significant time Higher traveler satisfaction check-out processes invoices vs.
    [Show full text]
  • English and American Studies in Spain: New Developments and Trends
    English and American Studies in Spain: New Developments and Trends Editors: Alberto Lázaro Lafuente María Dolores Porto Requejo HUMANIDADES 47 OBRAS COLECTIVAS UAH English and American Studies in Spain: New Developments and Trends OBRAS COLECTIVAS HUMANIDADES 47 English and American Studies in Spain: New Developments and Trends Editors: Alberto Lázaro Lafuente María Dolores Porto Requejo © Editors: Alberto Lázaro Lafuente & María Dolores Porto Requejo. © Texts: the authors. © Images: as stated in each case. If not stated explicitly, the responsibility lies with the author of the essay. © This edition: Universidad de Alcalá • Servicio de Publicaciones, 2015 Plaza de San Diego, s/n • 28801, Alcalá de Henares (España). Web: www.uah.es Cover image: Jonathan Sell, 38th AEDEAN Conference Organising Committee Total or partial reproduction of this book is not permitted, nor its informatic treatment, or the transmission of any form or by any means, either electronic, mechanic, photocopy or other methods, without the prior written permission of the owners of the copyright. I.S.B.N.: 978-84-16599-11-0 Contents Preface .................................................................................................................. 9 PART I: KEYNOTES CLARA CALVO, Universidad de Murcia Shakespeare in Khaki...................................................................................... 12 ROGER D. SELL, Åbo Akademi University Pinter, Herbert, Dickens: Post-postmodern Communicational Studies and the Humanities .....................................................................................................
    [Show full text]
  • Chicago Shakespeare in the Parks Tour Into Their Neighborhoods Across the Far North, West, and South Sides of the City
    ANNOUNCING OUR 2018/2019 SEASON —The Merry Wives of Windsor Explosive, Pulitzer Prize-winning drama. Shakespeare’s tale of magic and mayhem—reimagined. The “76-trombone,” Tony-winning musical The Music Man. And so much more! 5-play Memberships start at just $100. We’re Only Alive For A Short Amount Of Time | How To Catch Creation | Sweat The Winter’s Tale | The Music Man | Lady In Denmark | Twilight Bowl | Lottery Day GoodmanTheatre.org/1819Season 312.443.3800 2018/2019 Season Sponsors MACBETH Contents Chicago Shakespeare Theater 800 E. Grand on Navy Pier On the Boards 10 Chicago, Illinois 60611 A selection of notable CST events, plays, and players 312.595.5600 www.chicagoshakes.com Conversation with the Directors 14 ©2018 Chicago Shakespeare Theater All rights reserved. Cast 23 ARTISTIC DIRECTOR CARL AND MARILYNN THOMA ENDOWED CHAIR: Barbara Gaines EXECUTIVE DIRECTOR: Playgoer's Guide 24 Criss Henderson PICTURED: Ian Merrill Peakes Profiles 26 and Chaon Cross COVER PHOTO BY: Jeff Sciortino ABOVE PHOTO BY: joe mazza A Scholar’s Perspective 40 The Basic Program of Liberal Education for Adults is a rigorous, non- Part of the John W. and Jeanne M. Rowe credit liberal arts program that draws on the strong Socratic tradition Inquiry and Exploration Series at the University of Chicago. There are no tests, papers, or grades; you will instead delve into the foundations of Western political and social thought through instructor-led discussions at our downtown campus and online. EXPLORE MORE AT: graham.uchicago.edu/basicprogram www.chicagoshakes.com 5 Welcome DEAR FRIENDS, When we first imagined The Yard at Chicago Shakespeare and the artistic capacity inherent in its flexible design, we hoped that this new venue would invite artists to dream big as they approached Shakespeare’s work.
    [Show full text]
  • 1 Shakespeare and Film
    Shakespeare and Film: A Bibliographic Index (from Film to Book) Jordi Sala-Lleal University of Girona [email protected] Research into film adaptation has increased very considerably over recent decades, a development that coincides with postmodern interest in cultural cross-overs, artistic hybrids or heterogeneous discourses about our world. Film adaptation of Shakespearian drama is at the forefront of this research: there are numerous general works and partial studies on the cinema that have grown out of the works of William Shakespeare. Many of these are very valuable and of great interest and, in effect, form a body of work that is hybrid and heterogeneous. It seems important, therefore, to be able to consult a detailed and extensive bibliography in this field, and this is the contribution that we offer here. This work aims to be of help to all researchers into Shakespearian film by providing a useful tool for ordering and clarifying the field. It is in the form of an index that relates the bibliographic items with the films of the Shakespearian corpus, going from the film to each of the citations and works that study it. Researchers in this field should find this of particular use since they will be able to see immediately where to find information on every one of the films relating to Shakespeare. Though this is the most important aspect, this work can be of use in other ways since it includes an ordered list of the most important contributions to research on the subject, and a second, extensive, list of films related to Shakespeare in order of their links to the various works of the canon.
    [Show full text]
  • Joe Macbeth Testimony
    NEW YORK STATE ASSOCIATION OF COMMUNITY & RESIDENTIAL AGENCIES Testimony of Joseph Macbeth Before the Administration on Developmental Disabilities’ “Envisioning the Future” Summit October 18, 2010 Philadelphia, PA Commissioner Lewis and staff of the Administration on Developmental Disabilities, thank you for this opportunity to participate in your “Envisioning the Future” Summit Series. I am Joseph Macbeth, Assistant Executive Director of the New York State Association of Community and Residential Agencies (NYSACRA). NYSACRA is an association of 200 non‐profit agencies that support nearly 60,000 New Yorkers with developmental disabilities. We serve as a catalyst and leading advocate for people who have developmental disabilities and organizations that support them. I am also a member of the board of directors for the National Alliance for Direct Support Professionals. As I envision the future, I am reminded that just a mere 40 years ago, most individuals with developmental disabilities who couldn’t live independently or with their families were confined to public institutions. Litigation, new funding streams, and a growing chorus of voices from parents, professionals, and self advocates demanding change transformed that system of care. Yet, I doubt that the leaders of that transformation clearly envisioned, back then, where we would be today, any better than we can precisely envision where we will be in the next several decades. But we can see in the transformation a trajectory which will undoubtedly continue. While we’ve moved from institutions to agency‐operated group homes, individuals with developmental disabilities want to live in their own homes, and increasingly have that option. While we’ve moved from segregated, isolated campuses to communities ‐ individuals with developmentaldisabilities want to be part of the community, as fully participating and responsible neighbors, not simply in the community, and increasingly they are achieving that dream.
    [Show full text]