Pub Date : 2021-08-01DOI: 10.3828/liverpool/9781800348547.003.0004
Rebekah Owens
In this chapter, the reader will be shown some films that use recent history as a setting, adding a further layer of meaning to the story from the cultural resonances associated with that historical past. Using Ralph Fiennes’ film of Coriolanus which made comparison to the Balkan wars of the 1990s and Richard Loncraine’s film of Richard III which uses as its backdrop a version of Nazi Germany, the reader will be encouraged to observe how those settings render the play more relevant to our own time, despite the early modern language. There is also a consideration of the cultural coin of Shakespeare, how his works are so well-known that Shakespeare is recognisable as a distinctive brand. There follows a discussion of the film that exploits this, Baz Luhrmann’s Romeo and Juliet which deploys modern marketing techniques such as camera effects reminiscent of the music video and the visual shorthand of advertising to tell the story of the play.
{"title":"Brand Shakespeare","authors":"Rebekah Owens","doi":"10.3828/liverpool/9781800348547.003.0004","DOIUrl":"https://doi.org/10.3828/liverpool/9781800348547.003.0004","url":null,"abstract":"In this chapter, the reader will be shown some films that use recent history as a setting, adding a further layer of meaning to the story from the cultural resonances associated with that historical past. Using Ralph Fiennes’ film of Coriolanus which made comparison to the Balkan wars of the 1990s and Richard Loncraine’s film of Richard III which uses as its backdrop a version of Nazi Germany, the reader will be encouraged to observe how those settings render the play more relevant to our own time, despite the early modern language. There is also a consideration of the cultural coin of Shakespeare, how his works are so well-known that Shakespeare is recognisable as a distinctive brand. There follows a discussion of the film that exploits this, Baz Luhrmann’s Romeo and Juliet which deploys modern marketing techniques such as camera effects reminiscent of the music video and the visual shorthand of advertising to tell the story of the play.","PeriodicalId":383705,"journal":{"name":"Studying Shakespeare on Film","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126223105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.3828/liverpool/9781800348547.003.0006
Rebekah Owens
The chapter will discuss a film that, at first glance, has very little in common with the Shakespeare original. Shakespeare’s Romeo and Juliet is rendered by Leonard Bernstein, Robert Wise and Jerome Robbins into a musical and retitled as West Side Story and so it appears that there are only superficial links with the original story which concerns itself with the illicit love of two members of warring factions. The reader will be shown how this film resembles the original by considering the question raised in the introduction — that of Shakespeare’s perceived universality which suggests that the author and his plays dealt with issues that were of universal concern and dealt with matters such as love that crossed cultural and historical boundaries. In choosing to tell the story through the medium of music and dance, Bernstein, Wise and Robbins will be shown to have retold the story through visual and aural means that render it on a par with the original play in its use of nonnaturalistic devices.
{"title":"Conclusion","authors":"Rebekah Owens","doi":"10.3828/liverpool/9781800348547.003.0006","DOIUrl":"https://doi.org/10.3828/liverpool/9781800348547.003.0006","url":null,"abstract":"The chapter will discuss a film that, at first glance, has very little in common with the Shakespeare original. Shakespeare’s Romeo and Juliet is rendered by Leonard Bernstein, Robert Wise and Jerome Robbins into a musical and retitled as West Side Story and so it appears that there are only superficial links with the original story which concerns itself with the illicit love of two members of warring factions. The reader will be shown how this film resembles the original by considering the question raised in the introduction — that of Shakespeare’s perceived universality which suggests that the author and his plays dealt with issues that were of universal concern and dealt with matters such as love that crossed cultural and historical boundaries. In choosing to tell the story through the medium of music and dance, Bernstein, Wise and Robbins will be shown to have retold the story through visual and aural means that render it on a par with the original play in its use of nonnaturalistic devices.","PeriodicalId":383705,"journal":{"name":"Studying Shakespeare on Film","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132001464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.3828/liverpool/9781800348547.003.0002
Rebekah Owens
The reader is invited to explore how a director can tell the story of the play in a setting that embraces the expectations of realism in cinema, but still pays homage to the theatrical origins of the work. Using Franco Zeffirelli’s film of Romeo and Juliet and Kenneth Branagh’s adaptation of Much Ado About Nothing, this chapter explores how both of these directors used their experience and training in theatre to create a version of the play that did not compromise on the work’s theatrical origins. Attention is drawn to the setting of the film which acts as a backdrop to the action and to the respect accorded to the early modern language of the play.
{"title":"Theatrical Shakespeare","authors":"Rebekah Owens","doi":"10.3828/liverpool/9781800348547.003.0002","DOIUrl":"https://doi.org/10.3828/liverpool/9781800348547.003.0002","url":null,"abstract":"The reader is invited to explore how a director can tell the story of the play in a setting that embraces the expectations of realism in cinema, but still pays homage to the theatrical origins of the work. Using Franco Zeffirelli’s film of Romeo and Juliet and Kenneth Branagh’s adaptation of Much Ado About Nothing, this chapter explores how both of these directors used their experience and training in theatre to create a version of the play that did not compromise on the work’s theatrical origins. Attention is drawn to the setting of the film which acts as a backdrop to the action and to the respect accorded to the early modern language of the play.","PeriodicalId":383705,"journal":{"name":"Studying Shakespeare on Film","volume":"17 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113979825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter follows on from the last in discussing how some Shakespeare films rely on an assumption that Shakespeare is so well-known as to form a distinctive, easily recognized brand in the cinema marketplace. Thus, his work can be reimagined in completely different genres such as the teenpic. That is, they are translated as stories that deal exclusively with the preoccupations of teenagers and the social milieu of the American high school. In this way, principal themes of the plays can be explored, such as jealousy in Tim Blake Nelson’s O, based on Othello, the treatment of women in Gil Junger’s Ten Things I Hate About You, based on The Taming of the Shrew and gender identity in Andy Fickman’s She’s The Man, based on Twelfth Night. The latter film in particular is also used as an exemplar of how a Shakespeare film can sometimes fail in its objectives and oversimplify the themes of the original play to the point where there is little resemblance between the modern film and the early modern original.
{"title":"Teenpic Shakespare","authors":"Rebekah Owens","doi":"10.2307/j.ctv1r1nr6k.7","DOIUrl":"https://doi.org/10.2307/j.ctv1r1nr6k.7","url":null,"abstract":"This chapter follows on from the last in discussing how some Shakespeare films rely on an assumption that Shakespeare is so well-known as to form a distinctive, easily recognized brand in the cinema marketplace. Thus, his work can be reimagined in completely different genres such as the teenpic. That is, they are translated as stories that deal exclusively with the preoccupations of teenagers and the social milieu of the American high school. In this way, principal themes of the plays can be explored, such as jealousy in Tim Blake Nelson’s O, based on Othello, the treatment of women in Gil Junger’s Ten Things I Hate About You, based on The Taming of the Shrew and gender identity in Andy Fickman’s She’s The Man, based on Twelfth Night. The latter film in particular is also used as an exemplar of how a Shakespeare film can sometimes fail in its objectives and oversimplify the themes of the original play to the point where there is little resemblance between the modern film and the early modern original.","PeriodicalId":383705,"journal":{"name":"Studying Shakespeare on Film","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124114306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this chapter is an exploration of those films in which the setting provides a visual analogy with the preoccupations of the story, but not at the expense of Shakespeare's language. In Julie Taymor’s The Tempest, Justin Kurzel’s Macbeth and Joss Whedon’s Much Ado About Nothing, the reader will be invited to consider how these directors use visual imagery to complement Shakespeare’s figurative language.
{"title":"Cinematic Shakespeare","authors":"Rebekah Owens","doi":"10.5860/choice.41-6298","DOIUrl":"https://doi.org/10.5860/choice.41-6298","url":null,"abstract":"In this chapter is an exploration of those films in which the setting provides a visual analogy with the preoccupations of the story, but not at the expense of Shakespeare's language. In Julie Taymor’s The Tempest, Justin Kurzel’s Macbeth and Joss Whedon’s Much Ado About Nothing, the reader will be invited to consider how these directors use visual imagery to complement Shakespeare’s figurative language.","PeriodicalId":383705,"journal":{"name":"Studying Shakespeare on Film","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122500216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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