Closed in a Dead Man's Tomb": Juliet, Space, and the Body in Franco Zeffirelli's and Baz Luhrmann's Films of "Romeo and Juliet Author(s): Lindsey Scott Source: Literature/Film Quarterly, Vol. 36, No. 2 (2008), pp. 137-146 Published by: Salisbury University Stable URL: https://www.jstor.org/stable/43797456 Accessed: 18-11-2019 10:30 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Salisbury University is collaborating with JSTOR to digitize, preserve and extend access to Literature/Film Quarterly This content downloaded from 117.240.50.232 on Mon, 18 Nov 2019 10:30:28 UTC All use subject to https://about.jstor.org/terms "Closed in a (Dead Man 's Tornò JuCiet, Space, and the (Body in Tranco ZefßreCCi's and (Baz Luhrmann's <FiCms of (Romeo and JuCiet. Given each director's decision to adapt and popularize Shakespeare's Romeo and Juliet for a teenage audience, it is hardly surprising that many critics have highlighted the similarities between the film adaptations of Franco Zeffirelli (1968) and Baz Luhrmann (1996). Critical discussions of Luhrmann's William Shakespeare's Romeo + Juliet often speculate on how much influence Zeffirelli's earlier film had on Luhrmann's approach: James N.