Preface; List of illustrations; 1. Shakespeare in silence: in search of the 'best class of people'; 2. Hollywood's four seasons of Shakespeare: Kate is heard as well as seen; 3. Laurence Olivier: marketing Shakespeare for the better classes; 4. Orson Welles, auteur: Shakespeare for the arthouses; 5. Shakespeare in the age of electronics: TV, electronovision, videocassette, laser disk, CD-ROM and WWW; 6. Shakespeare in sunny Italy: spectacle and song in Castellani and Zeffirelli; 7. The darker vision: the Shakespeare movie in the age of angst; 8. 'Other Shakespeares' in other realms: translation, adaptation, transformation and expropriation; 9. Shakespeare movies of different kinds: 'cinema of transgression', derivatives and beyond the fringe; 10. The renaissance of Shakespeare in moving images: across the mall and into the multiplex; Bibliography; Filmography and title index; Name index.
Looks at the evolution of film adaptations of Shakespeare in an international context.
'The don of Shakespeare on screen has done it again. Kenneth
Rothwell's History of Shakespeare on Screen is an instant classic -
required reading for anyone who works on the subject, and
fascinating reading for those who do not. In a tour de force,
Rothwell presents an invaluable critical history of one hundred
years of screened Shakespeare in 259 pages of text. One of the most
important recent books on Shakespeare, it is unlikely to be
surpassed.' Barbara Freedman, Shakespeare Quarterly
'For a century, Shakespeare's plays have been a goldmine of
scenarios and scripts for hundreds of films, silent and otherwise,
and, more recently, of television dramas. In this well-informed and
wide-ranging book, at once magisterial and entertaining, Kenneth
Rothwell takes us from the beginnings - Beerbohm Tree's death
throes as King John (1899) - almost to the present - Baz Luhrmann's
William Shakespeare's Romeo + Juliet (1996).' Stanley Wells, The
Daily Telegraph
'[Rothwell] is an extremely compelling analyst of 'film rhetoric' -
of particular technologies of style … of details one might
otherwise miss on first viewing. Written accounts of moving images
are necessarily impoverished, but Rothwell, characteristically,
turns even this problem to his advantage; he makes you want to see
the movies yourself.' The Times Literary Supplement
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