Screening Early Modern Drama Beyond Shakespeare
While film adaptations of Shakespeare's plays captured the popular imagination at the turn of the last century, independent filmmakers began to adapt the plays of Shakespeare's contemporaries. The roots of their films in European avant-garde cinema and the plays' politically subversiv...
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| Main Author | |
|---|---|
| Format | eBook Book |
| Language | English |
| Published |
Cambridge
Cambridge University Press
23.05.2013
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| Edition | 1 |
| Subjects | |
| Online Access | Get full text |
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Table of Contents:
- Cover -- Contents -- Illustrations -- Acknowledgements -- Abbreviations and referencing -- Introduction: Beyond Shakespeare: the contemporary Jacobean film -- Four landmarks: films of the European avant-garde -- Chapter 1: Derek Jarman's queer contemporary Jacobean aesthetic: Caravaggio and Edward II -- Derek Jarman's avant-garde Renaissance: influences and attitudes from the Slade to The Tempest (1979) -- 'Years of distillation': Caravaggio (1986) -- 'The Swan of Avon dies a syncopated death': section 28 and the gestation of Edward II -- Derek Jarman's queer Edward II: (preposterously) looking through the eyes of the present -- Swinton, Powell and Lennox: deconstructing gender -- Coda: 'to the future' -- Chapter 2: The preposterous contemporary Jacobean film: Peter Greenaway's Cook, heritage Shakespeare and sexual exploitation in Mike Figgis's Hotel -- Montaigne's gourmet cannibalism: consuming the Renaissance on fin-de-siècle screens -- 'A fast-food McMalfithinsp': food, female bodies and the literary text in Mike Figgis's Hotel -- Putting the cart before the horse: the preposterousness of the contemporary Jacobean film -- 'Man's control of women's sexuality': voyeurism, fetishistic scopophilia and the apparatus of film -- Preposterous Doppelgängers: fantastic mutuality and self-violation in Artemisia and Hotel -- Trespassers: the preposterous aesthetic of Hotel as a contemporary Jacobean film -- Chapter 3: Third Cinema, urban regeneration and heritage Shakespeare in Alex Cox's Revengers Tragedy -- Shakespeare in Granada: Cox, Third Cinema and the archetype of the revolutionary revenger -- From Mexico to Liverpool via Stratford-upon-Avon: local revengers and the global film industry -- 'Liverpool - drive with care': Vindici, Lear and urban regeneration in Revengers and My Kingdom (2003)
- Gloriana's skull (I): 'strange fellows' and the sub-text of slavery -- Gloriana's skull (II): a Middletonian revenger in a Shakespeare-saturated world -- Coda: a call to arms -- Chapter 4: Early modern performance and digital media: remediation and the evolving archival canon -- Stage performance and the new media: hypermediality, intermediality, the live and the living in Cheek by Jowl's 'Tis Pity She's a Whore and the Punchdrunk/ENO Duchess of Malfi -- 'TV classics' on YouTube: fragmentation and anachronicity in the remediation of the BBC's Duchess of Malfi and Edward II -- Early modern drama and the economics of microcinema -- Education and the digital medium: Chamber of Demonstrations and Stage on Screen -- Conclusion: from marginal to mainstream -- Chapter 5: Bend it like Nagra: mainstreaming The Changeling in Sarah Harding's Compulsion -- Puttenham (1): hypallage in The Changeling and Compulsion -- British politics and hybrid 'girl power': from Bend it Like Beckham (2002) to Second Generation (2003) -- From 'British Asian' to 'British Asian': Compulsion -- Puttenham (2): deflowering and the changeling bride -- 'Combining the familiar with the fresh': a counter-Shakespearean changeling in mainstream TV programming -- Appendix 1: Chronological list of surviving film adaptations -- Appendix 2: Annotated filmography: early modern drama on screen, 1926-2012 -- Abbreviations -- Bibliography -- Index