Cinematic Shakespeare (Genre and Beyond) by Michael Anderegg

By Michael Anderegg

Cinematic Shakespeare takes the reader contained in the making of a few major diversifications to demonstrate how cinema transforms and re-imagines the dramatic shape and magnificence principal to Shakespeare's imagination.

Cinematic Shakespeare investigates how Shakespeare motion pictures represent an exhilarating and ever-changing movie style. The demanding situations of adopting Shakespeare to cinema are like few different movie genres. Anderegg seems heavily at movies by means of Laurence Olivier (Richard III), Orson Welles (Macbeth), and Kenneth Branagh (Hamlet) in addition to issues like 'Postmodern Shakespeares' (Julie Taymor's Titus and Peter Greenaway's Prospero's Books) and a number of variations through the years of Romeo and Juliet. A bankruptcy on tv seems to be heavily at American broadcasting within the Fifties (the Hallmark corridor of repute Shakespeare diversifications) and the BBC/Time-Life Shakespeare performs from the overdue 70s and early 80s.

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Celia Britton, Annwyl Williams, Ben Brewster, and Alfred Guzzetti (Bloomington: Indiana University Press, 1982), 12-13. 15. Sam Nathanson to Richard Wilson, March 7, 1950 (Richard Wilson papers, UCLA Special Collections). 16. Richard Wilson to Orson Welles, May 7, 1949 (Richard Wilson Papers, UCLA Special Collections). 17. Clayton Hutton, Macbeth: The Making of the Film (London: Max Parrish, 1960), 7. CHAPTER TWO Finding the Playwright on Film At the beginning of Renato Castellani's 1954 film adaptation of Romeo and ]uliet, William Shakespeare, played by John Gielgud, makes a brief appearance.!

So, for example, the National Theatre film of Othello (1965) with Laurence Olivier is described as "stagy," while Franco Zeffirelli's 1960 Old Vic stage production of Romeo and Juliet is found to exhibit "cinematic" elements. A cinematic version of a play, in conventional terms, is one that has been "opened out" in a variety of ways, though in practice this has often meant little more than changing locations within scenes and filming out of doors, a process that may seem irrelevant when applied to Shakespeare.

That the finished product fell, ultimately, between stools might have been expected. The 1960 Macbeth ended up not quite grand or exciting enough to be cinema, while it was not intimate enough, too "distanced" from the viewer, to be television. In the chapters that follow, I will develop the topics mentioned above by taking a closer look at selected Shakespeare films. Chapter 2, which continues and expands on the question of how theater is incorporated into film, looks at how "Shakespeare," the person and the theatrical energies his name represents, has been constructed cinematically, with particular attention to Laurence Olivier's Henry V and John Madden's Shakespeare in Love.

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