THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM Edited by Russell Jackson CAMBRIDGE www.cambridge.org/9780521630238
Film adaptations of Shakespeare's plays are increasingly popular and now figure prominently in the study of his work and its reception.This lively Companion is a collection of critical and historical essays on the films adapted from,and inspired by,Shakespeare's plays.An international team of leading scholars discuss Shakespearean films from a variety of perspectives:as works of art in their own right;as products of the international movie industry;in terms of cinematic and theatrical genres;and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh.They also consider specific issues such as the portrayal of Shakespeare's women and the supernatural. The emphasis is on feature films for cinema,rather than television,with strong cov- erage of Hamlet,Richard Ill,Macbeth,King Lear and Romeo and Juliet.A guide to further reading and a useful filmography are also provided. RUSsELL JACKSON is Reader in Shakespeare Studies and Deputy Director of the Shakespeare Institute,University of Birmingham.He has worked as a textual adviser on several feature films including Shakespeare in Love and Kenneth Branagh's Henry V,Much Ado About Nothing,Hamlet and Love's Labour's Lost. He is co-editor of Shakespeare:An Illustrated Stage History (1996)and two volumes in the Players of Shakespeare series.He has also edited Oscar Wilde's plays
Film adaptations of Shakespeare’s plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare’s plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives:as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare’s women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong coverage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. Russell Jackson is Reader in Shakespeare Studies and Deputy Director of the Shakespeare Institute, University of Birmingham. He has worked as a textual adviser on several feature films including Shakespeare in Love and Kenneth Branagh’s Henry V, Much Ado About Nothing, Hamlet and Love’s Labour’s Lost. He is co-editor of Shakespeare: An Illustrated Stage History (1996) and two volumes in the Players of Shakespeare series. He has also edited Oscar Wilde’s plays
THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM
THE CAMBRIDGE COMPAN ION TO SHAKESPEARE ON FILM
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THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM EDITED BY RUSSELL JACKSON CAMBRIDGE UNIVERSITY PRESS
THE CAMBRIDGE COMPAN ION TO SHAKESPEARE ON FILM EDITED BY RUSSELL JACKSON
CAMBRIDGE UNIVERSITY PRESS Cambridge,New York,Melbourne,Madrid,Cape Town,Singapore,Sao Paulo Cambridge University Press The Edinburgh Building.Cambridge CB2 2RU,UK Published in the United States of America by Cambridge University Press,New York www.cambridge.org Information on this title:www.cambridge.org/9780521630238 Cambridge University Press 2000 This publication is in copyright.Subject to statutory exception and to the provision of relevant collective licensing agreements,no reproduction of any part may take place without the written permission of Cambridge University Press. First published in print format 2000 ISBN-13 978-0-511-22161-3 eBook (Adobe Reader) ISBN-Io O-5II-22161-4 eBook (Adobe Reader) ISBN-13 978-0-521-63023-8 hardback ISBN-10 0-521-63023-I hardback ISBN-13 978-0-521-63975-o paperback ISBN-I0 0-$21-63975-I paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication,and does not guarantee that any content on such websites is,or will remain,accurate or appropriate
cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru, UK First published in print format isbn-13 978-0-521-63023-8 isbn-13 978-0-521-63975-0 isbn-13 978-0-511-22161-3 © Cambridge University Press 2000 2000 Information on this title: www.cambridge.org/9780521630238 This publication is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. isbn-10 0-511-22161-4 isbn-10 0-521-63023-1 isbn-10 0-521-63975-1 Cambridge University Press has no responsibility for the persistence or accuracy of urls for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Published in the United States of America by Cambridge University Press, New York www.cambridge.org hardback paperback paperback eBook (Adobe Reader) eBook (Adobe Reader) hardback
CONTENTS List of contributors page xi Preface xin A note on references xiv Introduction:Shakespeare,films and the marketplace I RUSSELL JACKSON PART 1 ADAPTATION AND ITS CONTEXTS I From play-script to screenplay RUSSELL JACKSON 2 Video and its paradoxes 35 MICHELE WILLEMS 3 Critical junctures in Shakespeare screen history:the case of Richard Ill 47 BARBARA FREEDMAN 4 Shakespeare and movie genre:the case of Hamlet 之 HARRY KEYISHIAN PART 2.GENRES AND PLAYS 5 The comedies on film 85 MICHAEL HATTAWAY 6 Filming Shakespeare's history:three films of Richard Ill 99 H.R.COURSEN 7 Hamlet,Macbeth and King Lear on film J.LAWRENCE GUNTNER ix
CONTENTS List of contributors page xi Preface xiii A note on references xiv Introduction:Shakespeare, films and the marketplace 1 russell jackson PART 1 · ADAPTAT ION AND ITS CONTEXTS 1 From play-script to screenplay 15 russell jackson 2 Video and its paradoxes 35 michèle willems 3 Critical junctures in Shakespeare screen history:the case of Richard III 47 barbara freedman 4 Shakespeare and movie genre:the case of Hamlet 72 harry keyishian PART 2 · GENRES AND PLAYS 5 The comedies on film 85 michael hattaway 6 Filming Shakespeare’s history:three films of Richard III 99 h. r. coursen 7 Hamlet, Macbeth and King Lear on film 117 j. lawrence guntner ix
LIST OF CONTENTS 8 The tragedies of love on film I35 PATRICIA TATSPAUGH PART3·DIRECTORS 9 The Shakespeare films of Laurence Olivier I63 ANTHONY DAVIES Io Orson Welles and filmed Shakespeare I83 PAMELA MASON II Grigori Kozintsev's Hamlet and King Lear I99 MARK SOKOLYANSKY I2 Franco Zeffirelli and Shakespeare 2I2 DEBORAH CARTMELL I3 Flamboyant realist:Kenncth Branagh 222 SAMUEL CROWL PART 4.CRITICAL ISSUES 14 Looking at Shakespeare's women on film 241 CAROL CHILLINGTON RUTTER I5 National and racial stereotypes in Shakespeare films 26I NEIL TAYLOR 16 Shakespeare the illusionist:filming the supernatural 274 NEIL FORSYTH I7 Shakespeare's cinematic offshoots 295 TONY HOWARD Further reading 3I4 Filmograpby 3r8 Index 325
8 The tragedies of love on film 135 patricia tatspaugh PART 3 · D IRECTORS 9 The Shakespeare films of Laurence Olivier 163 anthony davies 10 Orson Welles and filmed Shakespeare 183 pamela mason 11 Grigori Kozintsev’s Hamlet and King Lear 199 mark sokolyansky 12 Franco Zeffirelli and Shakespeare 212 deborah cartmell 13 Flamboyant realist: Kenneth Branagh 222 samuel crowl PART 4 · CR IT ICAL ISSUES 14 Looking at Shakespeare’s women on film 241 carol chillington rutter 15 National and racial stereotypes in Shakespeare films 261 neil taylor 16 Shakespeare the illusionist:filming the supernatural 274 neil forsyth 17 Shakespeare’s cinematic offshoots 295 tony howard Further reading 314 Filmography 318 Index 325 list of contents x
CONTRIBUTORS DEBORAH CARTMELL,De Montfort University SAMUEL CROWL,Ohio University H.R.COURSEN,University of Maine,Augusta ANTHONY DAVIES,Stratford-upon-Avon NEIL FORSYTH,Universite de Lausanne BARBARA FREEDMAN,Tufts University MICHAEL HATTAWAY,University of Sheffield TONY HOWARD,University of Warwick RUSSELL JACKSON,The Shakespeare Institute,University of Birmingham J.LAWRENCE GUNTNER,Technische Universitat,Braunschweig HARRY KEYISHIAN,Fairleigh Dickinson University PAMELA MASON,The Shakespeare Institute,University of Birmingham CAROL CHILLINGTON RUTTER,University of Warwick MARK SOKOLYANSKY,University of Odessa NEIL TAYLOR,University of Surrey Rochampton PATRICIA TATSPAUGH,London MICHELE WILLEMS,Universite de Rouen xi
CONTRIBUTORS deborah cartmell, De Montfort University samuel crowl, Ohio University h. r. coursen, University of Maine, Augusta anthony davies, Stratford-upon-Avon neil forsyth, Université de Lausanne barbara freedman, Tufts University michael hattaway, University of Sheffield tony howard, University of Warwick russell jackson, The Shakespeare Institute, University of Birmingham j. lawrence guntner, Technische Universität, Braunschweig harry keyishian, Fairleigh Dickinson University pamela mason, The Shakespeare Institute, University of Birmingham carol chillington rutter, University of Warwick mark sokolyan sky, University of Odessa neil taylor, University of Surrey Roehampton patricia tatspaugh, London michèle willems, Université de Rouen xi
