Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Introduction
- 267 Shakespeare on Air I: Early British Radio and Radio Audiences
- 268 Shakespeare on Air II: The Golden Age of US Radio
- 269 Shakespeare and Audio Recording
- 270 TV and Early TV Audiences in Europe and the United States
- 271 Film and Film Audiences
- 272 World Cinema
- 273 Plays-within-the-Film
- 274 Shakespeare Documentaries
- 275 The Sonnets Onscreen
- 276 Shakespeare and Animation
- 277 Shakespeare and Online Video
- Index
- References
269 - Shakespeare and Audio Recording
from Part XXVIII - Shakespeare and Media History
Published online by Cambridge University Press: 17 August 2019
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Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Introduction
- 267 Shakespeare on Air I: Early British Radio and Radio Audiences
- 268 Shakespeare on Air II: The Golden Age of US Radio
- 269 Shakespeare and Audio Recording
- 270 TV and Early TV Audiences in Europe and the United States
- 271 Film and Film Audiences
- 272 World Cinema
- 273 Plays-within-the-Film
- 274 Shakespeare Documentaries
- 275 The Sonnets Onscreen
- 276 Shakespeare and Animation
- 277 Shakespeare and Online Video
- Index
- References
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 1926 - 1930Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Bebb, Richard. “The Voice of Henry Irving: An Investigation.” Recorded Sound: The Journal of the British Institute of Recorded Sound 68 (1977): 727–32.Google Scholar
dir.Brill, Clive The Arkangel Complete Shakespeare. Arkangel. Audio cassette, 1998; compact disc, 2003.Google Scholar
Cartelli, Thomas, and Rowe, Katherine. “Media Vernaculars: Listening to Scotland, PA.” New Wave Shakespeare on Screen. Cambridge: Polity, 2007. 105–19.Google Scholar
Donaldson, Peter. “Bottom and the Gramophone: Media, Class and Comedy in Michael Hoffman’s A Midsummer Night’s Dream.” Shakespeare Survey 61 (2008): 23–35.Google Scholar
O’Brien, Robert J. “Literary Recordings.” The Enyclopedia of Recorded Sound. Vol. 1. 2nd ed. Ed. Hoffmann, Frank W. and Ferstler, Howard. New York: Routldge, 2005. 618–21.Google Scholar
Tribble, Evelyn. “Listening to Prospero’s Books.” Shakespeare Survey 61 (2008): 161–69.Google Scholar
Further reading
Gitelman, Lisa. “How Users Define New Media: A History of the Amusement Phonograph.” MIT Communications Forum. Dir. Thorburn, David. 20 June 2001. http://web.mit.edu/m-i-t/articles/index_gitelman.html.Google Scholar
King Lear. Paul Scofield, with Alec McCowen, Kenneth Branagh, and full cast. Dir. Tydeman, John. Naxos Audiobooks, 2002. Compact disc.Google Scholar
Lanier, Douglas. “Shakespeare on the Record.” A Companion to Shakespeare and Performance. Ed. Hodgdon, Barbara and Worthen, W. B.. Oxford: Blackwell, 2005. 415–36.Google Scholar
Read, Oliver, and Welch, Walter L.. From Tin Foil to Stereo: Evolution of the Phonograph. 2nd ed. Indianapolis: Howard W. Sams, 1976.Google Scholar
Steadman, Marie J. “Audio Shakespeare.” Shakespeare in the Media. Ed. Brusberg-Kiermeier, Stefani and Helbig, Jörg. Britannia: Texts in English 9. Frankfurt am Main: Lang, 2004. 121–35.Google Scholar
Timson, David. “Speak the Speech....” Sunday Times Oxford Literary Festival, 2008. Naxos Audiobooks Web site. http://www.naxosaudiobooks.com/NAB_at_the_OLF/Speak_the_Speech.mp3. Accessed 20 June 2011. Audio.CrossRefGoogle Scholar