Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-t7czq Total loading time: 0 Render date: 2024-11-28T02:07:00.963Z Has data issue: false hasContentIssue false

Part III - The Genres of Lear

Published online by Cambridge University Press:  10 September 2019

Victoria Bladen
Affiliation:
University of Queensland
Sarah Hatchuel
Affiliation:
Université Paul Valéry, Montpellier
Nathalie Vienne-Guerrin
Affiliation:
Université Paul Valéry, Montpellier
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2019

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

Works Cited

Basinger, J., Anthony Mann (Middletown: Wesleyan University Press, 2007).Google Scholar
Boggs, J. D., ‘King of Texas’, True West, 1 July 2002: www.truewestmagazine.com/king-of-texas (accessed 2 June 2016).Google Scholar
Burt, R., ‘Shakespeare, “Glo-cali-zation,” Race, and the Small Screens of Popular Culture’, in Burt, R. and Boose, L. E. (eds.), Shakespeare, The Movie, II: Popularizing the Plays on Film, TV, Video, and DVD (London: Routledge, 2003), 1436.Google Scholar
Buscombe, E., The BFI Companion to the Western (New York: Da Capo Press, 1988).Google Scholar
Carter, M., The Myth of the Western: New Perspectives on Hollywood’s Frontier Narrative (Edinburgh: Edinburgh University Press, 2014).Google Scholar
Jess-Cooke, C., ‘Screening the McShakespeare in Post-millennial Shakespeare Cinema’, in Burnett, M. T. and Wray, R. (eds.), Screening Shakespeare in the Twenty-first Century (Edinburgh: Edinburgh University Press, 2006), 163–84.Google Scholar
Lehmann, C., ‘The Passion of the W: Localizing Shakespeare, Globalizing Manifest Density from King Lear to Kingdom Come’, Upstart Crow 25 (2006): 1632.Google Scholar
McBride, J., Hawks on Hawks (Lexington: University Press of Kentucky, 2013 [1982]).CrossRefGoogle Scholar
Reid-Merritt, P., A State-by-State History of Race and Racism in the United States, vol. 2 (Santa Barbara: Greenwood, 2018).Google Scholar
Walker, E., ‘Getting back to Shakespeare: Whose Film Is It Anyway?’, in Henderson, D. E. (ed.), A Concise Companion to Shakespeare on Screen (Malden and Oxford: Blackwell, 2008), 830.Google Scholar

Works Cited

Brighouse, H., Hobson’s Choice: a Three-act Comedy (London: Constable and Company, 1916).Google Scholar
Földváry, K., ‘Postcolonial Hybridity: the Making of a Bollywood Lear in London’, Shakespeare (British Shakespeare Association) 9.3 (2013): 304–12.CrossRefGoogle Scholar
Fryer, M., ‘Abstract Storms: Reinventing Storms from Elizabethan Theater’, undergraduate essay, MIT, 2015.Google Scholar
Griggs, Y., Shakespeare’s ‘King Lear’: the Relationship between Text and Film (London: Methuen Drama, 2009).CrossRefGoogle Scholar
Henderson, D. E., ‘Alternative Collaborations: Shakespeare, Nahum Tate, Our Academy, and the Science of Probability’, in Henderson, D. E. (ed.), Alternative Shakespeares 3 (London: Routledge, 2008), 243–63.Google Scholar
Genre and Modernity in Hobson’s Choice and Life Goes On’, Litteraria Pragensia: Studies in Literature and Culture 26.52, Special Issue (December 2016): 4957.Google Scholar
Holland, N. H. ‘David Lean, Hobson’s Choice, 1954’: www.asharperfocus.com/Hobson.html (accessed 12 July 2016).Google Scholar
Lanier, D. M., ‘Film Spin-offs and Citations’ in Burt, R. (ed.), Shakespeares after Shakespeare: an Encyclopedia of the Bard in Mass Media and Popular Culture (Westport: Greenwood Press, 2007), 132365.Google Scholar
Olivier, L., On Acting (London: Weidenfeld and Nicolson, 1986).Google Scholar
Pye, C., The Storm at Sea: Political Aesthetics in the Time of Shakespeare (New York: Fordham University Press, 2015).Google Scholar
Silver, A. and Ursini, J., David Lean and His Films (London: Frewin, 1974; Los Angeles: Silman-James Press, 1991).Google Scholar
Szymborska, W., ‘Theatre Impressions’, in her Poems New and Collected 1957–1997, trans. S. Baranczak and C. Cavanagh (New York: Harcourt, 1998), 114.Google Scholar

Works Cited

Arnold, G., ‘Harry and Tonto and …’, The Washington Post, 25 September 1974: D1, D11.Google Scholar
Biskind, P., Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock-’n’-Roll Generation Saved Hollywood (New York: Simon and Schuster, 1998).Google Scholar
Cohan, S. and Rae Hark, I. (eds.), The Road Movie Book (New York: Routledge, 2002).CrossRefGoogle Scholar
Cook, D. A., Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970–1979 (New York: Charles Scribners, 2000).Google Scholar
Elsaesser, T., ‘The Pathos of Failure: Notes on the Unmotivated Hero [1975]’, in Elsaesser, T., King, N. and Horvath, A. (eds.), The Last Great American Picture Show (Amsterdam: Amsterdam University Press, 2004), 279–92.Google Scholar
Greenfeld, J. and Mazursky, P., Harry and Tonto (New York: E. P. Dutton, 1974).Google Scholar
Hammond, M., ‘The Road Movie’, in Williams, L. R. and Hammond, M. (eds.), Contemporary American Cinema (London: Open University Press, 2006), 1420.Google Scholar
Keyishian, H., ‘Shakespeare and Movie Genre: the Case of Hamlet’, in Jackson, R. (ed.), The Cambridge Companion to Shakespeare on Film, 2nd edition (Cambridge: Cambridge University Press, 2007), 7284.Google Scholar
Laderman, D., Driving Visions: Exploring the Road Movie (Austin: University of Texas Press, 2002).Google Scholar
Mills, K., The Road Story and the Rebel: Moving through Film, Fiction, and Television (Carbondale: Southern Illinois University Press, 2006).Google Scholar
Orgeron, D., Road Movies: from Muybridge and Méliès to Lynch and Kiarostami (New York: Palgrave Macmillan, 2008).CrossRefGoogle Scholar
Taylor, J. R., Directors and Direction: Cinema for the Seventies (New York: Hill and Wang, 1975).Google Scholar
Wasson, S. and Brooks, M., Paul on Mazursky (Middletown: Wesleyan University Press, 2011).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
×