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Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19. -
The Global Ophelia
The Global Ophelia: Giving a Voice to the Voiceless Erynn Kim Mrs. Hamilton English IV AP Literature: Global Shakespeare 10 January 2013 Kim 1 A voice is a human gift; it should be cherished and used, to utter fully human speech as possible. Powerlessness and silence go together. -Margaret Atwood “Shakespeare does not belong to any one country” (Huang). These are the words of Dr. Alexander Huang, the man who coined the term “Global Shakespeare.” Indeed, nearly every country in the world has integrated Shakespeare into its culture, using his work in many ways: as a means to discuss controversial issues that, in any other context, would be unable to be discussed; as a medium to understand world cultures; and, overall, as a vehicle for cultures to understand and express themselves. Though accurate translation is important, interpretation is just as vital. The unique perspective of each culture results in many different interpretations of Shakespearean works. Writers, artists, and filmmakers often take poetic liberties in order to prove a particular point or support a certain opinion, using the original as a framework upon which they can build their own creations. Many cultures have chosen to create their own interpretations of Hamlet, most often by reshaping the characters of the original and casting them in a different light. Ophelia, in particular, though a very minor character in the original, has taken many new forms in the works of different cultures, whether from political, social, or literary motivations. The Japanese, Arab, and Chinese cultures have all expanded Ophelia’s role in the Hamlet story in order to emphasize their own unique points. -
Kurosawa's Hamlet?
Kurosawa’s Hamlet? KAORI ASHIZU In recent years it has suddenly been taken for granted that The Bad Sleep Well (Warui Yatsu Hodo Yoku Nemuru, 1960) should be includ- ed with Kumonosujô and Ran as one of the films which Akira Kuro- sawa, as Robert Hapgood puts it, “based on Shakespeare” (234). However, although several critics have now discussed parallels, echoes and inversions of Hamlet, none has offered any sufficiently coherent, detailed account of the film in its own terms, and the exist- ing accounts contain serious errors and inconsistencies. My own in- tention is not to quarrel with critics to whom I am in other ways in- debted, but to direct attention to a curious and critically alarming situation. I For example, we cannot profitably compare this film with Hamlet, or compare Nishi—Kurosawa’s “Hamlet,” superbly played by Toshirô Mifune—with Shakespeare’s prince, unless we understand Nishi’s attitude to his revenge in two crucial scenes. Yet here even Donald Richie is confused and contradictory. Richie first observes of the earlier scene that Nishi’s love for his wife makes him abandon his revenge: “she, too, is responsible since Mifune, in love, finally de- cides to give up revenge for her sake, and in token of this, brings her a [ 71 ] 72 KAORI ASHIZU bouquet . .” (142).1 Three pages later, he comments on the same scene that Nishi gives up his plan to kill those responsible for his father’s death, but determines to send them to jail instead: The same things may happen (Mori exposed, the triumph of jus- tice) but the manner, the how will be different. -
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. -
Romeo Y Julieta 1 Romeo Y Julieta
Romeo y Julieta 1 Romeo y Julieta Romeo y Julieta Representación de la famosa escena del balcón de Romeo y Julieta. Pintura de 1884, por Frank Dicksee. Autor William Shakespeare Género Tragedia Tema(s) Amor prohibido Idioma Inglés [1] Título original The Most Excellent and Lamentable Tragedie of Romeo and Juliet País Inglaterra Fecha de publicación 1597 (Q1) 1599 (Q2) 1609 (Q3) 1622 (Q4) 1637 (Q5) Formato En cuarto[d] Romeo y Julieta (1597) es una tragedia de William Shakespeare. Cuenta la historia de dos jóvenes enamorados que, a pesar de la oposición de sus familias, rivales entre sí, deciden luchar por su amor hasta el punto de casarse de forma clandestina; sin embargo, la presión de esa rivalidad y una serie de fatalidades conducen al suicidio de los dos amantes. Esta relación entre sus protagonistas los ha convertido en el arquetipo de los llamados star-crossed lovers.[2] [a] Se trata de una de las obras más populares del autor inglés y, junto a Hamlet y Macbeth, la que más veces ha sido representada. Aunque la historia forma parte de una larga tradición de romances trágicos que se remontan a la antigüedad, el argumento está basado en la traducción inglesa (The Tragical History of Romeus and Juliet, 1562) de un cuento italiano de Mateo Bandello, realizada por Arthur Brooke, que se basó en la traducción francesa hecha por Pierre Boaistuau en 1559. Por su parte, en 1582, William Painter realizó una versión en prosa a partir de relatos italianos y franceses, que fue publicada en la colección de historias Palace of Pleasure. -
I'm Not Finished — Done Dimitri A
Bard College Bard Digital Commons Senior Projects Spring 2014 Bard Undergraduate Senior Projects 2014 I'm Not Finished — Done Dimitri A. Cacouris Bard College Recommended Citation Cacouris, Dimitri A., "I'm Not Finished — Done" (2014). Senior Projects Spring 2014. Paper 159. http://digitalcommons.bard.edu/senproj_s2014/159 This Open Access is brought to you for free and open access by the Bard Undergraduate Senior Projects at Bard Digital Commons. It has been accepted for inclusion in Senior Projects Spring 2014 by an authorized administrator of Bard Digital Commons. For more information, please contact [email protected]. I’m Not Finished— Done Senior Project Submitted to The Division of Arts of Bard College by Dimitri Cacouris Annandale-on-Hudson, New York May 2014 Acknowledgements: The list of people who have contributed to this project is long; I would like to keep this one short. To that end, the following is a list of people I would like to thank for their specific contributions to the project, and I hope any omissions will be taken for the mellow iniquities of a befuddled adolescent mind. Thanks to Roberto Tardocchi, for pointing me toward Un Amleto di Meno, and to Prof. Thomas Bartscherer for doing the same for la Critique Génétique Thanks to Jorge Cortiñas, Anne Gridley, Chiori Miyagawa, Geoff Sobelle, Jonathan Rosenberg, and Jean Wagner for critical feedback and keen eyes; you allowed the piece to tick Thanks to Naomi Thornton for telling me the truth Thanks to Zoë Elders, Sebastian Gutierrez, Sean Leo, Jacqueline Reddington, Konstantin Rizos, Paul Weintrob, and Adam Zuckerman, for conversations, collaborations, and comprehension, but I can’t thank you enough Thanks to the employees, designers, and crew members of the Richard B. -
An Imaginative Film and Monumental by Its Production Values and Cinematic Brilliance in Creating a Fantasy World on Screen
63rd NATIONAL FILM AWARDS FOR 2015 FEATURE FILMS S.No. Name of Award Name of Film Awardees Medal Citation & Cash Prize 1. BEST FEATURE BAAHUBALI Producer: SHOBU Swarna Kamal An imaginative film and FILM YARLAGADDA AND and monumental by its production ARKA values and cinematic brilliance MEDIAWORKS (P) 2,50,000/- LTD. each to in creating a fantasy world on screen. the Producer and Director : S.S Director RAJAMOULI (CASH COMPONENT TO BE SHARED) 2. INDIRA GANDHI MASAAN Producer: Swarna Kamal For his perceptive approach AWARD FOR BEST PHANTOM FILMS and to filmmaking in handling a DEBUT FILM OF A layered story of DIRECTOR Director : NEERAJ 1,25, 000/- people caught up changing GHAYWAN each to social and moral values. the Producer and Director 3. BEST POPULAR BAJRANGI Producer: SALMA Swarna Kamal Tackling an important social FILM PROVIDING BHAIJAAN KHAN, and issue in the simple heart- WHOLESOME SALMAN KHAN, warming & entertaining format. ENTERTAINMENT ROCKLINE 2,00,000/- VENKTESH each to Director : KABIR the Producer and KHAN Director 4. NARGIS DUTT NANAK SHAH Producer: Rajat Kamal and The saga on the life of the FAKIR GURBANI MEDIA AWARD FOR great spiritual master BEST FEATURE PVT. LTD. 1,50,000/- each to advocating the values of peace FILM ON and harmony. NATIONAL the Producer and INTEGRATION Director 5. BEST FILM ON NIRNAYAKAM Producer: JAIRAJ Rajat Kamal and For tackling a relevant and SOCIAL ISSUES FILMS unaddressed issue of 1,50,000/- each curtailing freedom of Director : V.K to movement for the common PRAKASH the Producer and man due to hartals and Director processions. -
Akira Kurosawa's Lear: Ran and the Failure of the Samurai Ethic
1 Akira Kurosawa’s Lear: Ran and the Failure of the Samurai Ethic “Cineaste: You mentioned in an interview in a Japanese magazine that in Ran you wanted to depict a man’s karma from a “heavenly” viewpoint. Will you elaborate? Akira Kurosawa: I did not exactly say that. Japanese reporters always misunderstand or conveniently summarize what I really say. What I meant was that some of the essential scenes of this film are based on my wondering how God and Buddha, if they actually exist, perceive this human life, this mankind stuck in the same absurd behavior patterns. Kagemusha is made from the viewpoint of one of Kagemusha [shadow warrior—ed.] who sees the specific battles which he is involved in, and moreover the civil war period in general, from a very circumscribed point of view. This time, in Ran, I wanted to suggest a larger viewpoint . more objectively. I did not mean that I wanted to see through the eyes of a heavenly being. I believe that the world would not change even if I made a direct statement: do this and do that. Moreover, the world will not change unless we steadily change human nature itself and our very way of thinking. We have to exorcise the essential evil in human nature, rather than presenting concrete solutions to problems or directly depicting social problems. Therefore, my films might have become more philosophical.” + + + Just as Kurosawa reworked Shakespeare’s Macbeth in his Throne of Blood and reworked the main themes and characters of Hamlet in The Bad Sleep Well, Kurosawa in the last phase of his career chose to rework King Lear in his film Ran (or “Chaos”). -
Shakespeare Wallah
Shakespeare and Film 1910 The film The shortest The film adaptation 1913 Taming of of Hamlet, only the Shrew, 59 minutes, was starring released. 1929 Mary Pickford & Douglas Fairbanks, was the first ‘talkie’ version of a Khoon Ka Khoon (Blood Shakespeare play. for Blood) or Hamlet, 1930 directed by Sohrab Modi, was the first Hindi/Urdu sound film adaptation of a Shakespeare play. 1935 The adaptation 1936 of As You Like It The first television marked the first broadcast of Shakespeare appearance 1937 was on 5 February 1937. of Laurence The BBC broadcast an Olivier as a character in a 11-minute scene from Shakespearean film. As You Like It, starring Margaretta Scott as Rosalind and Ion 1940 Swinley as Orlando. Laurence Olivier’s adaptation of Henry V 1944 was an attempt to boost morale and patriotism “This is the during the Second World War. tragedy of a 1948 man who could not make up his mind…” —From the spoken prologue of Laurence Olivier’s version of Hamlet. 1950 1952 Orson Welles directed “Look upon the ruins/ Of and starred in his film the castle of delusion.” adaptation of Othello. —Lines from the prologue 1957 of the Japanese adaptation of The Bad Sleep Well, a Macbeth, Japanese film involving Kumonosu-jÔ 1960 corporate greed and (Throne of Blood). vengeance, is released as a loose adaptation 1960 of Hamlet. Shakespeare Wallah, though not an adaptation of a play, features a fictional theater troupe The Swedish film Elvira in India that performs 1965 Madigan was reminiscent Shakespeare plays in of Romeo and Juliet, towns across the nation. -
Love and Class in Mexican Neoliberal Cinema
Regimes of Affect: Love and Class in Mexican Neoliberal Cinema Ignacio M. Sánchez Prado Published online: February 2014 http://www.jprstudies.org Abstract: Departing from the idea of studying affects and emotions in their relationship to contemporary capitalism, this article explores the way in which love stories have evolved in Mexican cinema of the past 20 years to accommodate the social divisions produced by neoliberal social and economic reform. The article argues that Mexican commercial cinema, led by a boom in the romantic comedy, caters a narrative that idealizes what Richard Florida calls “the creative class” and thus constructs a regime of affect that proactively segregates audiences by class. This thesis is developed through the study of works by filmmakers such as Alfonso Cuarón (Sólo con tu pareja), Antonio Serrano (Sexo, pudor y lágrimas) and Fernando Sariñana (Amar te duele). About the Author: Ignacio M. Sánchez Prado is Associate Professor of Spanish and International and Area Studies at Washington University in Saint Louis. He is the author of El canon y sus formas. La reinvención de Harold Bloom y sus lecturas hispanoamericanas (2002), Naciones intelectuales. Las fundaciones de la modernidad literaria mexicana (1917- 1959) (2009), winner of the LASA Mexico 2010 Humanities Book Award, and Intermitencias americanistas. Ensayos académico y literarios (2004-2009) (2012), a collection of his essays on the question of Latin Americanism. He has edited and co-edited nine scholarly collections and published over forty scholarly articles on Mexican literature, culture and film, as well as on Latin American cultural theory. His next book, Screening Neoliiberalism. Mexican Cinema 1988-2012, explores the connections between film and neoliberalism in contemporary Mexico and will be published by Vanderbilt University Press in 2014. -
Adaptation of Shakespeare's Plays Into Films: the Dark Side
European Journal of English Language and Literature Studies Vol. 4, Issue 7, pp. 35-39, November 201 Published by European Centre for Research Training and Development UK (www.eajournals.org) ADAPTATION OF SHAKESPEARE'S PLAYS INTO FILMS: THE DARK SIDE Azeez Jasim Mohammed Assistant Professor, Department of English Language and Literature, Jerash University, Jerash 26150, Jordan ABSTRACT: To what extent our innermost feelings can be revealed through our works? The unbearable face of human being cannot be hidden and what a director shot in a film may reveal the real sense of what is hidden from our eyes. Thus directors sometimes try to hide their dark side behind such interesting movies after having modified the events of the original text to achieve their end. This paper, however, is an overview about the technique of adaptation which varies from one adaptationist to another depending on the historical background of the screenplay writer. Although the director succeeds to project what is on one side of his curtain, he fails to hide what is on the other side that discloses his innermost feelings KEYWORDS: Dark side, Shakespeare, adaptation, Vishal Bhardwaj, Sadism, Masochism INTRODUCTION In this paper, I start from where I ended my last essay on media and literature which presented the relationship between the content of a literary work and its modified version after adaptation into films. The core of which was the role of the mass media which consisted of various layers of meaning superimposed on one another. I enhanced the study with two specific instances those served as illustrations; 'Best Defense', a Hollywood movie based on Robert Grossbach’s novel Easy and Hard Ways Out (1974) and 'World War Z'; another Hollywood movie based on the New York Times bestseller and an apocalyptic horror novel World War Z: An Oral History of the Zombie War (2006) by Max Brooks. -
7 KHOON MAAF Special 7 SINS FORGIVEN 7 SINS FORGIVEN 7 SINS FORGIVEN
PS-2030:PS_ 30.01.2011 13:53 Uhr Seite 128 Berlinale 2011 Vishal Bhardwaj Panorama 7 KHOON MAAF Special 7 SINS FORGIVEN 7 SINS FORGIVEN 7 SINS FORGIVEN Indien 2011 Darsteller Susanna Anna- Länge 143 Min. Marie Johannes Priyanka Chopra Format 35 mm, Major Edwin Cinemascope Rodriques Neil Nitin Mukesh Farbe Jimmy Stetson John Abraham Wasiullah Khan Irrfan Khan Stabliste Nicolai Vronsky Alexander Regie Vishal Bhardwaj Dychenko Buch Matthew Robbins Keemat Lal Annu Kapoor Vishal Bhardwaj, Modhusudhon nach der Tarafdar Naseeruddin Shah Erzählung „The sowie Konkana Sen Merry Widow“ von Sharma Ruskin Bond Vivaan Shah Kamera Ranjan Palit Usha Uthup Dialoge Vishal Bhardwaj Harish Khanna Schnitt Sreekar Prasad Shashi Malviya Sounddesign P M Satheesh Shajith Koyeri Musik Vishal Bhardwaj Priyanka Chopra Liedtexte Gulzar Production Design Samir Chanda Maske Vikram Gaikwad 7 SINS FORGIVEN Herstellungsltg. Sanjeev Kumar Sechs Ehemänner hat die schöne Susanna gehabt in einem insgesamt 35 Produzenten Ronnie Screwvala Jahre währenden Eheleben. Keiner der Gatten hat die Ehe mit der eleganten, Vishal Bharadwaj attraktiven Frau überlebt – „die lustige Witwe“ hat sie alle zu Tode geliebt! Co-Produzenten Zarina Mehta Der erste in der Reihe war der Major, der sah so schneidig aus in seiner Deven Khote Sidharth Roy Uniform. Vielleicht war er damals schon ein bisschen zu alt für Susanna? Kapur Aber was soll’s! Liebe macht blind. Rekha Bhardwaj Sehr kurz darauf trat sie mit Jimmy vor den Altar. Der sang so schön und sah Executive Producer Ajay Rai so gut aus. Doch letztlich war Jimmy ein unbeschriebenes Blatt … Associate Producers Manish Hariprasad Susanna ist im Grunde ihres Herzens eine Romantikerin und deshalb sehr Vikas Mehta Creative Producer Vikas Bahl empfänglich für Lyrik.