Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-gbm5v Total loading time: 0 Render date: 2024-12-28T00:29:14.672Z Has data issue: false hasContentIssue false

273 - Plays-within-the-Film

from Part XXVIII - Shakespeare and Media History

Published online by Cambridge University Press:  17 August 2019

By
Sarah Hatchuel
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'

Keywords

adaptationcinemacross-dressingfilmfilm-within-the-filmgender performanceglobalglocalheritageidentity politicsmasculinitymoviesmusicalparodyplay-within-the-filmplay-within-the-playqueerrehearsal-within-the-filmremediationShakespeare in Lovespin-offstage beautytheatricalitytransnational
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1946 - 1953
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Sources cited

Anderegg, Michael. Cinematic Shakespeare. Lanham: Rowman and Littlefield, 2004.Google Scholar
Bloom, Gina. Voice in Motion: Staging Gender, Shaping Sound in Early Modern England. Philadelphia: Penn, 2007.CrossRefGoogle Scholar
Burnett, Mark. “Parodying with Richard.” Shakespeare on Screen: “Richard III.” Ed. Hatchuel, Sarah and Vienne-Guerrin, Nathalie. Rouen: Publications des Universités de Rouen et du Havre, 2005. 91–112.Google Scholar
Burt, Richard. “All that Remains of Shakespeare in Indian Film.” Shakespeare in Asia: Contemporary Performance. Ed. Kennedy, Dennis and Li Lan, Yong. Cambridge: Cambridge University Press, 2010. 73–108.Google Scholar
Burt, Richard. Unspeakable ShaXXXespeares: Queer Theory and American Kiddie Culture. New York: St. Martin’s, 1998.CrossRefGoogle Scholar
Cartelli, Thomas, and Rowe, Katherine. New Wave Shakespeare on Screen. Cambridge: Polity, 2007.Google Scholar
Che Cosa Sono Le Nuvole? Dir. Pasolini, Pier Paolo. Italy, Dino de Laurentiis Cinematografica, 1967. Film, snd., col., 22 mins.Google Scholar
Chimes at Midnight. Dir. Welles, Orson. France/Spain/Switzerland, Alpine Films, 1965. Film, snd., bw., 115 mins.Google Scholar
Le Conte d’hiver (The Winter’s Tale). Dir. Rohmer, Eric. France, C.E.R./Les Films du Losange/Sofiarp, 1992. Film, snd., col., 114 mins.Google Scholar
Dead Poets Society. Dir. Weir, Peter. USA, Touchstone/Buena Vista, 1989. Film, snd., col., 128 mins.Google Scholar
Fabiszak, Jacek. “Hamlet’s ‘Mousetrap’ on Screen: The Versions of Olivier (1948), Zeffirelli (1990) and Branagh (1996).” Approaches to Literature. Ed. Bystydzieńska, Grażyna. Warsaw: Department of English Literature, U of Warsaw, 2001. 25–37.Google Scholar
The Goodbye Girl. Dir. Ross, Herbert. USA, Warner/MGM, 1977. Film, snd., col., 111 mins.Google Scholar
Hamlet. Dir. Almereyda, Michael. USA, Miramax, 2000. Film, snd., col., 112 mins.Google Scholar
Hamlet. Dir. Branagh, Kenneth. USA/UK, Columbia, 1996. Film, snd., col., 242 mins.Google Scholar
Hamlet. Dir. Olivier, Laurence. UK, Two Cities, 1948. Film, snd., bw., 155 mins.Google Scholar
Henry V. Dir. Olivier, Laurence. UK, Two Cities, 1944. Film, snd., col., 137 mins.Google Scholar
Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Methuen, 1985.Google Scholar
In the Bleak Midwinter. Dir. Branagh, Kenneth. UK, Sony Pictures, 1995. Film, snd., bw., 99 mins.Google Scholar
Kiss Me Kate. Dir. Sidney, George. USA, MGM, 1953. Film, snd., col., 109 mins.Google Scholar
Lanier, Douglas. Shakespeare and Modern Popular Culture. Oxford: Oxford UP, 2002.Google Scholar
Looking for Richard. Dir. Pacino, Al. USA, Twentieth Century Fox, 1996. Film, snd., col., 109 mins.Google Scholar
Mazer, Cary M. “Sense/Memory/Sense-memory: Reading Narratives of Shakespearian Rehearsals.” Shakespeare Survey 62 (2009): 328–48. DOI:10.1017/CCOL9780521111034.026.Google Scholar
A Midsummer Night’s Dream. Dir. Hoffman, Michael. Italy/UK/USA, Twentieth Century Fox, 1996. Film, snd., col., 116 mins.Google Scholar
My Darling Clementine. Dir. Ford, John. USA, Twentieth Century Fox, 1946. Film, snd., bw., 97 mins.Google Scholar
My Own Private Idaho. Dir. Van Sant, Gus. USA, New Line, 1991. Film, snd., col., 104 mins.Google Scholar
Othello. Dir. Welles, Orson. USA/Italy/France/Morocco, Mercury/United Artists, 1952. Film, snd., bw., 90 mins.Google Scholar
Richard III. Dir. Olivier, Laurence. UK, London Film, 1955. Film, snd., col., 161 mins.Google Scholar
Saptapadi. Dir. Kar, Ajoy. India, Alochhaya Productions, 1961. Film, snd., bw., 163 mins.Google Scholar
Shakespeare in Love. Dir. Madden, John. USA, Miramax, 1998. Film, snd., col., 122 mins.Google Scholar
Shakespeare Wallah. Dir. Ivory, James. USA, Merchant Ivory/Continental, 1965. Film, snd., bw., 120 mins.Google Scholar
Stage Beauty. Dir. Eyre, Richard. UK/USA, Lions Gate, 2004. Film, snd., col., 106 mins.Google Scholar
Tempera, Mariangela. “‘Only about Kings’: References to the Second Tetralogy on Film and Television.” Shakespeare on Screen: The Henriad. Ed. Hatchuel, Sarah and Vienne-Guerrin, Nathalie. Rouen: Publications des Universités de Rouen et du Havre, 2008. 233–68.Google Scholar

Further reading

Boose, Lynda E., and Burt, Richard, eds. Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video. London: Routledge, 1997.Google Scholar
Burnett, Mark, and Wray, Roberta, eds. Screening Shakespeare in the Twenty-first Century. Edinburgh: Edinburgh UP, 2006.CrossRefGoogle Scholar
Burt, Richard, and Boose, Lynda E., eds. Shakespeare, the Movie, II: Popularizing the Plays on Film, TV, Video and DVD. London: Routledge, 2003.Google Scholar
Hatchuel, Sarah. Shakespeare, from Stage to Screen. Cambridge: Cambridge University Press, 2004.CrossRefGoogle Scholar
Howlett, Kathy M. Framing Shakespeare on Film. Athens: Ohio UP, 2000.Google Scholar
Lanier, Douglas. “Film Spin-offs and Citations: Entries Play by Play.” Shakespeares after Shakespeare. Ed. Burt, Richard. Westport: Greenwood, 2007. 132–365.Google Scholar
Massai, Sonia. “Subjection and Redemption in Pasolini’s Othello.” World-wide Shakespeares: Local Appropriations in Film and Performance. Ed. Massai, Sonia. London: Routledge, 2005. 95–103.Google Scholar
Tempera, Mariangela. “Staged by Quick Comedians: References to Shakespeare’s Roman Plays on Screen.” Shakespeare on Screen: The Roman Plays. Ed. Hatchuel, Sarah and Vienne-Guerrin, Nathalie. Rouen: Publications des Universités de Rouen et du Havre, 2009. 305–28.Google Scholar
Willems, Michèle. “Transcoding the Play within the Play: ‘Pyramus and Thisbe’ from Playtext to Screen Realization.” Shakespeare on Screen: A Midsummer Night’s Dream. Ed. Hatchuel, Sarah and Vienne-Guerrin, Nathalie. Rouen: Publications des Universités de Rouen et du Havre, 2004. 101–14.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×