The Tragedy of Macbeth (1971)
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Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Bcsfazine #520
The Newsletter of the British Columbia Science Fiction Association #520 $3.00/Issue September 2016 In This Issue: This and Next Month in BCSFA..........................................0 About BCSFA.......................................................................0 Letters of Comment............................................................1 Calendar.............................................................................11 News-Like Matter..............................................................14 Excess Resolutions for 2016, #4.5 (Kathleen Moore).....23 Seven Science Fiction Haiku (Denny E. Marshall)..........24 Art Credits..........................................................................25 BCSFAzine © September 2016, Volume 44, #9, Issue #520 is the monthly club newsletter published by the British Columbia Science Fiction Association, a social organization. ISSN 1490-6406. Please send comments, suggestions, and/or submissions to Felicity Walker (the editor), at felicity4711@ gmail .com or Apartment 601, Manhattan Tower, 6611 Coo- ney Road, Richmond, BC, Canada, V6Y 4C5 (new address). BCSFAzine is distributed monthly at White Dwarf Books, 3715 West 10th Aven- ue, Vancouver, BC, V6R 2G5; telephone 604-228-8223; e-mail whitedwarf@ deadwrite.com. Single copies C$3.00/US$2.00 each. Cheques should be made pay- able to “West Coast Science Fiction Association (WCSFA).” This and Next Month in BCSFA Sunday 18 September at 7 PM: September BCSFA meeting—at Ray Seredin’s, 707 Hamilton Street (recreation room), New Westminster. -
4 Modern Shakespeare Festivals
UNIVERSIDAD DE MURCIA ESCUELA INTERNACIONAL DE DOCTORADO Festival Shakespeare: Celebrating the Plays on the Stage Festival Shakespeare: Celebrando las Obras en la Escena Dª Isabel Guerrero Llorente 2017 Page intentionally left blank. 2 Agradecimientos / Acknoledgements / Remerciments Estas páginas han sido escritas en lugares muy diversos: la sala becarios en la Universidad de Murcia, la British Library de Londres, el centro de investigación IRLC en Montpellier, los archivos de la National Library of Scotland, la Maison Jean Vilar de Aviñón, la biblioteca del Graduate Center de la City University of New York –justo al pie del Empire State–, mi habitación en Torre Pacheco en casa de mis padres, habitaciones que compartí con Luis en Madrid, Londres y Murcia, trenes con destinos varios, hoteles en Canadá, cafeterías en Harlem, algún retazo corregido en un avión y salas de espera. Ellas son la causa y el fruto de múltiples idas y venidas durante cuatro años, ayudándome a aunar las que son mis tres grandes pasiones: viajar, el estudio y el teatro.1 Si bien los lugares han sido esenciales para definir lo que aquí se recoge, aún más primordial han sido mis compañeros en este viaje, a los que hoy, por fin, toca darles las gracias. Mis primeras gracias son para mi directora de tesis, Clara Calvo. Gracias, Clara, por la confianza depositada en mí estos años. Gracias por propulsar tantos viajes intelectuales. Gracias también a Ángel-Luis Pujante y Vicente Cervera, quienes leyeron una versión preliminar de algunos capítulos y cuyos consejos han sido fundamentales para su mejora. Juanfra Cerdá fue uno de los primeros lectores de la propuesta primigenia y consejero excepcional en todo este proceso. -
Roman Polanski
romanciclo noviembre / 2006 polanski todos los sabados 7:00 pm entrada libre 4 KNIFE IN THE WATER DIRECCIÓN: roman polanski INTÉRPRETES: leon niemczyk, jolanta umecka, zygmunt malanovicz FOTOGRAFÍA: jerzy lipman GUIÓN: roman polanski, jakub goldberg y jerzy skolimowsky MÚSICA: krzysztof komeda MONTAJE: halina prugar ketling PRODUCCIÓN: zespol filmowy kamera PAIS: polonia noviembre DURACIÓN: 90 min AÑO: 1.962 Cuchillo en el agua (1.962) es la opera prima de Roman Polanski y el único largometraje que realizaría en Polonia. En ella el director encierra a tres personajes, paradójicamente, en el desértico mar, generando un ambiente claustrofóbico en el cual los hombres pugnaran por hacerse notar ante la mujer. Polanski se encargó de filmar instantes que se podrían consi- derar como poco relevantes vistos desde un enfoque narrativo, pero que revelan las oscuras motivacio- nes en el comportamiento de los personajes, llenando la pantalla de tensión y transformando lo anodino en inquietante y morboso. La fotografía de Jerzy Lipman, no sólo logra situar al espectador en una posición de mirón que observa escondido, sino que también nos muestra el limitado entorno utilizando distintos encuadres, evitando que el espectador se sienta atrapado al igual que los personajes. La metáfora del cuchillo como representación violenta siempre está presente y es la que finalmente conduce al clímax en el que asistimos a un supuesto asesinato y al deterioro de la relación matrimonial, acompañada de la infidelidad y la huída del joven a una nueva experiencia. Cuchillo en el agua estuvo nominada al Oscar en 1.963 como mejor película extranjera, pero en Polonia no gustó, dado que a los comunistas les pareció una historia muy próxima al gusto occidental, alejada completamente de las películas propagandísticas sobre la lucha de clases y la guerra contra los nazis. -
The Journal of Shakespeare and Appropriation 2/9/20, 9'57 PM
Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2/9/20, 9'57 PM ISSN 1554-6985 VOLUME IV · NUMBER (/current) 2 SPRING/SUMMER 2009 (/previous) EDITED BY (/about) Christy Desmet and Sujata (/archive) Iyengar CONTENTS "Nisht kayn Desdemona, nisht kayn Dzulieta": Yiddish Farrah Adaptations of The Merchant of Venice and the Early Modern Lehman Father-Daughter Bond (/782243/show) (pdf) (/782243/pdf) Time Lord of Infinite Space: Celebrity Casting, Andrew Romanticism, and British Identity in the RSC's "Doctor Who James Hamlet" (/782252/show) (pdf) (/782252/pdf) Hartley A SIAN SHAKESPEARES ON SCREEN: TWO F ILMS IN PERSPECTIVE E DITED BY ALEXA HUANG Alexa Introduction (/1404/show) (pdf) (/1404/pdf) Huang Mark Extending the Filmic Canon: The Banquet and Maqbool Thornton (/1405/show) (pdf) (/1405/pdf) Burnett Martial Arts and Masculine Identity in Feng Xiaogang's The Yu Jin Ko http://borrowers.uga.edu/7158/toc Page 1 of 3 Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2/9/20, 9'57 PM Banquet (/1406/show) (pdf) (/1406/pdf) Amy Shakespeare: It's What's for Dinner (/1407/show) (pdf) Scott- (/1407/pdf) Douglass Woodcocks to Springes: Generic Disjunction in The Banquet Scott (/1410/show) (pdf) (/1410/pdf) Hollifield Spectator Violence and Queenly Desire in The Banquet Rebecca (/1411/show) (pdf) (/1411/pdf) Chapman Interiority, Masks, and The Banquet (/1413/show) (pdf) Yuk Sunny (/1413/pdf) Tien The Banquet as Cinematic Romance (/1414/show) (pdf) Charles (/1414/pdf) Ross A Thousand Universes: Zhang Ziyi in Feng Xiaogang's The Woodrow Banquet (/1418/show) (pdf) (/1418/pdf) B. -
Caught Between Presence and Absence: Shakespeare's Tragic Women on Film
Caught between presence and absence: Shakespeare's tragic women on film Item Type Thesis or dissertation Authors Scott, Lindsey A. Publisher University of Liverpool (University of Chester) Rights screenshots reproduced under s.30 (1) of the Copyright, Design and Patents Act 1988. Further re-use (except as permitted by law) is not allowed. Download date 04/10/2021 11:49:26 Link to Item http://hdl.handle.net/10034/100153 This work has been submitted to ChesterRep – the University of Chester’s online research repository http://chesterrep.openrepository.com Author(s): Lindsey A Scott Title: Caught between presence and absence: Shakespeare's tragic women on film Date: October 2008 Originally published as: University of Liverpool PhD thesis Example citation: Scott, Lindsey A. (2008). Caught between presence and absence: Shakespeare's tragic women on film. (Unpublished doctoral dissertation). University of Liverpool, United Kingdom. Version of item: Submitted version Available at: http://hdl.handle.net/10034/100153 Caught Between Presence and Absence: Shakespeare’s Tragic Women on Film Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy By Lindsey A. Scott October 2008 Declaration I declare that the material presented in this thesis is all my own work and has not been submitted for another award of the University of Liverpool or any other Higher Education Institution. Signed Lindsey A Scott Dated 27/08/09 Usually a physical presence – moving in space or making its own distinctive sounds – the body may also manifest itself only in verbal traces, or in echoes which signify its absence. -
Shakespeare on Film and Television in the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress
SHAKESPEARE ON FILM AND TELEVISION IN THE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by Zoran Sinobad January 2012 Introduction This is an annotated guide to moving image materials related to the life and works of William Shakespeare in the collections of the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. While the guide encompasses a wide variety of items spanning the history of film, TV and video, it does not attempt to list every reference to Shakespeare or every quote from his plays and sonnets which have over the years appeared in hundreds (if not thousands) of motion pictures and TV shows. For titles with only a marginal connection to the Bard or one of his works, the decision what to include and what to leave out was often difficult, even when based on their inclusion or omission from other reference works on the subject (see below). For example, listing every film about ill-fated lovers separated by feuding families or other outside forces, a narrative which can arguably always be traced back to Romeo and Juliet, would be a massive undertaking on its own and as such is outside of the present guide's scope and purpose. Consequently, if looking for a cinematic spin-off, derivative, plot borrowing or a simple citation, and not finding it in the guide, users are advised to contact the Moving Image Reference staff for additional information. How to Use this Guide Entries are grouped by titles of plays and listed chronologically within the group by release/broadcast date. -
PDF Copy of the Full Issue For
11/26/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation ISSN 1554-6985 V O L U M E I I I · N U M B E R (/current) 2 S P R I N G / S U M M E R 2 0 0 8 (/previous) E D I T E D B Y (/about) C h r i s t y D e s m e t a n d S u j a t a (/archive) I y e n g a r C O N T E N T S The Postfeminist Mystique: Feminism and Shakespearean Jennifer Adaptation in 10 Things I Hate About You and She's the Man Clement (/781814/show) (pdf) (/781814/pdf) Transnational Shakespeare: Salman Rushdie and Intertextual Parmita Appropriation (/781652/show) (pdf) (/781652/pdf) Kapadia Dream Loops and Short-Circuited Nightmares: Post-Brechtian Kirilka Tempests in Post-Communist Bulgaria (/781864/show) (pdf) Stavreva (/781864/pdf) Charles Appropriate This (/781730/show) (pdf) (/781730/pdf) Whitney Queer Appropriations: Shakespeare's Sonnets and Dickinson's Paraic Love Poems (/781869/show) (pdf) (/781869/pdf) Finnerty Erotic Politics Reconsidered: Desdemona's Challenge to Othello Elizabeth (/781790/show) (pdf) (/781790/pdf) Gruber The Greening of Will Shakespeare (/781872/show) (pdf) Jonathan (/781872/pdf) Baldo K E N N E T H B R A N A G H ' S A S Y O U L I K E I T : A R E V I E W C L U S T E R E D I T E D B Y M A T T K O Z U S K O www.borrowers.uga.edu/7156/toc 1/2 11/26/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation Dreaming of Orientalism in Kenneth Branagh's As You Like It Elizabeth (/781856/show) (pdf) (/781856/pdf) Klett Setting As You Like It: Shakespearean Appropriation for the Cable Rachel Television Market (/781867/show) (pdf) (/781867/pdf) Wifall The Lionesses and Olive Trees of Meiji-Era Japan: A Consideration Scott of Kenneth Branagh's As You Like It (/781870/show) (pdf) Hollifield (/781870/pdf) A P P R O P R I A T I O N S I N P E R F O R M A N C E Lumping in Fargo, book/lyrics by Bryan Reynolds, music by Michael Kent R. -
RETROBACK 2013 DPTO. PRENSA: Carmen R. Novi. Tlf: 958 250 279 Móvil: 655 547 493 [email protected]
RETROBACK 2013 DPTO. PRENSA: Carmen R. Novi. Tlf: 958 250 279 móvil: 655 547 493 [email protected]/www.retroback.info RETROBACK 2013 DEL 22 DE FEBRERO AL 3 DE MARZO El Festival de Cine Clásico de Granada, Retroback, llega a su quinta edición y lo hace de la mano del Conde Drácula. Como ya se anunciara en su día, el eje del festival se aparta momentáneamente de los grandes mitos de la actuación para adentrarnos en un personaje que ha tenido mil caras a lo largo de la historia del cine, siempre partiendo de la novela de Bram Stoker y cuando se han cumplido 100 años de su muerte. El creciente y renovado interés por el vampirismo nos ha llevado a plantear de forma diferente nuestra programación, adentrándonos en un fenómeno que puede abrir más aun el abanico de público que llena nuestras salas, un objetivo que vamos cumpliendo edición a edición y que nos va dotando de esta ecléptica identidad. Además de este gran recorrido cinematográfico Retroback tendrá diversas actividades paralelas dedicadas a Drácula y los Vampiros. Exposiciones, teatro, literatura y música en torno al mito del Príncipe de la Noche que serán un complemento ideal tanto para neófitos como amantes del género. Como broche final a este gran homenaje al personaje creado por Stoker, su sobrino biznieto Dacre Stoker nos acompañará en esta especial edición. Continuador de la obra del legendario literato, Dacre Stoker presentó en 2009 su primera novela “Drácula, el no muerto” tomando el testigo familiar en la divulgación de la memoria de Bram Stoker y su obra. -
SLAV-T230 Vampire F2018 Syllabus-Holdeman-Draft
The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 13119 (SLAV) (please call me Jeff) SLAV-T230 13807 (HHC section) GISB East 4041 Fall 2018 812-855-5891 (office) TR 4:00–5:15 pm Office hours (GA 4041): Classroom: HU 108 * Mon. and Tues. 2:15–3:15 pm in BH 008 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] 812-335-9868 (home) This syllabus is available in alternative formats upon request. Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today). -
WHITHER CANADA Graham Chapman Announcer Mr. Bruce
WHITHER CANADA Graham Chapman Announcer Mr. Bruce Foster Helmut British Housewife Sir Edward Ross Ron Geppo Inspector Private Colonel German Casualty Otto Different Gestapo Englishwoman Officer John Cleese Mozart Mariolini British Housewife Timmy Thomas Viking Sam Trench Doctor Policeman General Nazi Terry Gilliam Whizzo Spokesman Knight with Chicken “Sit Up” Woman Soldier Policeman Flag Waver Soldier Nazi Guard Eric Idle Eddie Francesco British Housewife Michael Vicky Reg Moss General Mrs. Scribbler Policeman General Soldier Nazi Joker Narrator Terry Jones Nelson Italian Language British Housewife Arthur “Two Sheds” “Sit Up” Woman Teacher Jackson Dress Woman Trapped Man Private Reporter Guard Soldier Nazi General Englishman Michael Palin It’s Man Genghis Kahn Giuseppe Interviewer David Mitzie Raymond Baxter Pepperpot General Ernest Scribbler Policeman Private German Casualty Prisoner of War Pig Head Miguel-Lopez Cortero Cy Town Himself Italian Guitarist Soldier Unnamed Extras Judge Judge Judge Italian Italian British Housewife British Housewife British Housewife Toulouse Lautrec Onlooker Dispatch Rider Soldier SEX AND VIOLENCE Graham Chapman Sheep Farmer Pepperpot Arthur Figgis Man with Two Noses William Gladstone Frank Amazing Kargol Julius Caesar Chartared Accountant Citizen John Cleese Frenchman Pepperpot Interviewer Cowboy in Black Scotsman on a Horse Epilauge Presenter Arthur Jackson Stockbroker Vicar Terry Gilliam Pepperpot Knight with Chicken Old Woman Politician Old Woman Eric Idle Linkman Marriage Guidance Ken Mr. Arthur Waring Viking Counselor Window Cleaner Terry Jones City Gent Pepperpot Arthur Frampton Arthur Ewing Queen Victoria Mum Old Man with Pram Harold Voice Napoleon Milkman Porter Farmer’s Wife Michael Palin It’s Man Frenchman Pepperpot Redcoat Arthur Pewtey ` Charlie Gardener Angry Neighbor Carol Cleveland Harold the Sheep Terry Medlicote Brian Lancaster Deidre Pewtey Janet Himself Monsignor Edward Gay Dr. -
Annual Report 2016
ANNUAL REPORT 2016 Outside cover 2016.indd 1 03/05/2017 15:23:04 Outside cover 2016.indd 2 03/05/2017 15:23:04 EQUITY ANNUAL REPORT 2016 THE EIGHTY SIXTH ANNUAL REPORT Adopted by the Council at its meeting held on 2 May, 2017 for submission to the Annual Representative Conference 21-22 May, 2017 Equity Incorporating the Variety Artistes’ Federation Guild House Upper St Martin’s Lane London WC2H 9EG Tel: 020 7379 6000 Fax: 020 7379 7001 E-mail: [email protected] Website: www.equity.org.uk Annual report 2016 cover_contents.indd 5 03/05/2017 15:17:48 Annual report 2016 cover_contents.indd 6 03/05/2017 15:17:48 CHAPTERCONTENTS 1: GENERAL A. ANNUAL REPRESENTATIVE CONFERENCE ...............................................................................................................7 B. BALLOTS .................................................................................................................................................................. 7 C. LOBBYING ACTIVITY ................................................................................................................................................7 D. MARKETING AND COMMUNICATION ....................................................................................................................9 E. RECRUITMENT & RETENTION ...............................................................................................................................12 F. CLARENCE DERWENT AWARDS .............................................................................................................................12