Book contents
- ‘Hamlet’ and World Cinema
- ‘Hamlet’ and World Cinema
- Copyright page
- Dedication
- Contents
- Figures
- Acknowledgements
- A note on texts and titles
- Introduction
- Chapter One Hamlet, Cinema and the Histories of Western Europe
- Chapter Two Thematizing Place: Hamlet, Cinema and Africa
- Chapter Three Hamlet and the Moment of Brazilian Cinema
- Chapter Four Pairing the Cinematic Prince: Hamlet, China and Japan
- Chapter Five Hamlet and Indian Cinemas: Regional Paradigms
- Chapter Six Gendering Borders: Hamlet and the Cinemas of Turkey and Iran
- Chapter Seven Materializing Hamlet in the Cinemas of Russia, Central and Eastern Europe
- Filmography
- Bibliography
- Index
Chapter Seven - Materializing Hamlet in the Cinemas of Russia, Central and Eastern Europe
Published online by Cambridge University Press: 21 June 2019
- ‘Hamlet’ and World Cinema
- ‘Hamlet’ and World Cinema
- Copyright page
- Dedication
- Contents
- Figures
- Acknowledgements
- A note on texts and titles
- Introduction
- Chapter One Hamlet, Cinema and the Histories of Western Europe
- Chapter Two Thematizing Place: Hamlet, Cinema and Africa
- Chapter Three Hamlet and the Moment of Brazilian Cinema
- Chapter Four Pairing the Cinematic Prince: Hamlet, China and Japan
- Chapter Five Hamlet and Indian Cinemas: Regional Paradigms
- Chapter Six Gendering Borders: Hamlet and the Cinemas of Turkey and Iran
- Chapter Seven Materializing Hamlet in the Cinemas of Russia, Central and Eastern Europe
- Filmography
- Bibliography
- Index
Summary
This chapter contends that Gamlet is important not so much as an end-point than as a beginning. The film, I argue, establishes a template for interpretation that has determined the thinking of subsequent Russian, Central and East European filmmakers.
- Type
- Chapter
- Information
- 'Hamlet' and World Cinema , pp. 219 - 251Publisher: Cambridge University PressPrint publication year: 2019