Shakespeare, Cinema and Desire explores the desires and the futures of Shakespeare's language and cinematographic adaptations of Shakespeare. Tracing ways that film offers us a rich new understanding of Shakespeare, Simon Ryle highlights issues that are central to both Shakespeare and film: media technologies, narrative territories and flows, mourning and loss, the voice, the body, sexuality and gender. The recirculation of Shakespearean ideas in the critical theory of modernity, especially by figures such as Jacques Lacan, Maurice Blanchot, Jacques Derrida, and Gilles Deleuze, parallels the negotiations of film adaptation. By focusing on the dialogue between Shakespeare and modernity, this study explores how Shakespeare film adaptation raises broad questions concerning the ethical potential of aesthetics. Shakespeare is the source of more movie screenplays than any other writer in history, and negotiations between Shakespeare and developing cinematic technologies have been influential across the history of cinema. This book contributes a much needed analysis of the relation of Shakespeare's language to film form, providing in-depth studies of major Shakespeare adaptations from directors such as Akira Kurosawa, Peter Greenaway, Joseph Mankiewicz, Grigori Kozintsev, Svend Gade, Jean-Luc Godard, and Laurence Olivier.
|Publisher:||Palgrave Macmillan UK|
|Edition description:||1st ed. 2014|
|Product dimensions:||5.51(w) x 8.50(h) x (d)|
About the Author
Simon Ryle is Assistant Professor in early modern literature, film, and critical theory at the University of Split, Croatia.
Table of Contents
List of Figures vi
Preface and Acknowledgements viii
Introduction: Shakespeare, Cinema and Desire 2
1 Something from Nothing: King Lear and Film Space 36
2 Body Space: The Sublime Cleopatra 85
3 Ghost Time: Unfolding Hamlet 129
4 Re-nascences: The Tempest and New Media 174
Epilogue: Futures of Shakespeare 212