Watching Shakespeare on television:
Watching Shakespeare on Television looks at Shakespeare as a cultural phenomenon and at the videocassette as "text" - that is, as an object fixed in time as well as in its assumptions about its medium. Even films made to be shown at a cinema are also designed to become cassettes for the va...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Rutherford u.a.
Fairleigh Dickinson Univ. Press u.a.
1993
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Watching Shakespeare on Television looks at Shakespeare as a cultural phenomenon and at the videocassette as "text" - that is, as an object fixed in time as well as in its assumptions about its medium. Even films made to be shown at a cinema are also designed to become cassettes for the vast "secondary" market. H. R. Coursen's study of Shakespearean films and television productions includes such classics as Olivier's Hamlet and Brook's and Welles's King Lear, as well as more recent productions such as Kevin Kline's and Mel Gibson's Hamlets, Kenneth Branagh's Henvy V, and Peter Greenaway's version of The Tempest, Prospero's Books. Shakespeare's scripts are designed to be "open to interpretation." That openness is not the invention of disciples of Foucault or Derrida The "meaning" of a Shakespeare script can never be fixed; rather, it is a temporal quality that shows how a script reflects, reinterprets, or reemphasizes the cultural and ideological assumptions of a particular moment in history. Shakespeare remains popular, as Branagh's Henry V, Zeffirelli's Hamlet, and a proliferation of Shakespeare's festivals prove. The energy known as Shakespeare cannot be isolated from the culture that constantly reappropriates the scripts and creates new audiences for them. Shakespeare "works" on television because television is a linguistic medium, and because we are becoming accustomed to the diminished scale of the television (and the videocassette), as opposed to the grander dimensions of cinema. Shakespeare survives domestication, but in ways that demand investigation about why and how the scripts can work on television, and about the nature of this medium when it is charged with Shakespearean energy Watching Shakespeare on Television looks at Gertrude, a character often clear in performance even if "unwritten" in the script, and at Hamlet's disquisition to Yorick's skull, subject to a wide range of options and interpretations. Other subjects covered are "style" in A Midsummer Night's Dream, particularly the 1982 ART production; the advantages film has over studio productions; and editing scripts for television, with a focus on the Nunn Othello and the Kline Hamlet. In the latter production, long takes contrast with the quicksilver montage technique of Zeffirelli's film version. Another chapter examines Othello as a script demanding a black actor in the lead, and it looks at the Nunn and Suzman versions as cases in point. Closure in Hamlet is analyzed as well: television, the modern medium of political closure, tends to include Fortinbras, as opposed to film which usually excludes him |
| Beschreibung: | 198 S. Ill. |
| ISBN: | 0838635210 |
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| 520 | 3 | |a Watching Shakespeare on Television looks at Shakespeare as a cultural phenomenon and at the videocassette as "text" - that is, as an object fixed in time as well as in its assumptions about its medium. Even films made to be shown at a cinema are also designed to become cassettes for the vast "secondary" market. H. R. Coursen's study of Shakespearean films and television productions includes such classics as Olivier's Hamlet and Brook's and Welles's King Lear, as well as more recent productions such as Kevin Kline's and Mel Gibson's Hamlets, Kenneth Branagh's Henvy V, and Peter Greenaway's version of The Tempest, Prospero's Books. Shakespeare's scripts are designed to be "open to interpretation." That openness is not the invention of disciples of Foucault or Derrida | |
| 520 | 3 | |a The "meaning" of a Shakespeare script can never be fixed; rather, it is a temporal quality that shows how a script reflects, reinterprets, or reemphasizes the cultural and ideological assumptions of a particular moment in history. Shakespeare remains popular, as Branagh's Henry V, Zeffirelli's Hamlet, and a proliferation of Shakespeare's festivals prove. The energy known as Shakespeare cannot be isolated from the culture that constantly reappropriates the scripts and creates new audiences for them. Shakespeare "works" on television because television is a linguistic medium, and because we are becoming accustomed to the diminished scale of the television (and the videocassette), as opposed to the grander dimensions of cinema. Shakespeare survives domestication, but in ways that demand investigation about why and how the scripts can work on television, and about the nature of this medium when it is charged with Shakespearean energy | |
| 520 | 3 | |a Watching Shakespeare on Television looks at Gertrude, a character often clear in performance even if "unwritten" in the script, and at Hamlet's disquisition to Yorick's skull, subject to a wide range of options and interpretations. Other subjects covered are "style" in A Midsummer Night's Dream, particularly the 1982 ART production; the advantages film has over studio productions; and editing scripts for television, with a focus on the Nunn Othello and the Kline Hamlet. In the latter production, long takes contrast with the quicksilver montage technique of Zeffirelli's film version. Another chapter examines Othello as a script demanding a black actor in the lead, and it looks at the Nunn and Suzman versions as cases in point. Closure in Hamlet is analyzed as well: television, the modern medium of political closure, tends to include Fortinbras, as opposed to film which usually excludes him | |
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Datensatz im Suchindex
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|---|---|
| adam_text | Watching Shakespeare
on Television
H R Coursen
Rutherford • Madison • Teaneck
Fairleigh Dickinson University Press
London and Toronto: Associated University Presses
Contents
Acknowledgments
) Some Problems, Some Responses 11
2 Style in Dream: The ART Version 33
3 Alas, Poor Yorick! 57
4 Gertrude s Story 70
5 Playing Space: The Kline Hamlet 80
6 Editing the Script 93
7 Closure in Hamlet 113
8 The Case for a Black Othello 126
9 Tis Nudity: Peter Greenaway s Prospero s Books 163
10 Epilogue: The Stage in the Global Village 177
Notes 183
Works Cited 186
Index 193
|
| any_adam_object | 1 |
| author | Coursen, Herbert R. |
| author_facet | Coursen, Herbert R. |
| author_role | aut |
| author_sort | Coursen, Herbert R. |
| author_variant | h r c hr hrc |
| building | Verbundindex |
| bvnumber | BV009125339 |
| callnumber-first | P - Language and Literature |
| callnumber-label | PR3093 |
| callnumber-raw | PR3093 |
| callnumber-search | PR3093 |
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| callnumber-subject | PR - English Literature |
| classification_rvk | HI 3378 |
| ctrlnum | (OCoLC)27728522 (DE-599)BVBBV009125339 |
| dewey-full | 791.45/75 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.45/75 |
| dewey-search | 791.45/75 |
| dewey-sort | 3791.45 275 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines Anglistik / Amerikanistik |
| format | Book |
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| illustrated | Illustrated |
| indexdate | 2024-07-09T17:31:23Z |
| institution | BVB |
| isbn | 0838635210 |
| language | English |
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| physical | 198 S. Ill. |
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| spelling | Coursen, Herbert R. Verfasser aut Watching Shakespeare on television H. R. Coursen Rutherford u.a. Fairleigh Dickinson Univ. Press u.a. 1993 198 S. Ill. txt rdacontent n rdamedia nc rdacarrier Watching Shakespeare on Television looks at Shakespeare as a cultural phenomenon and at the videocassette as "text" - that is, as an object fixed in time as well as in its assumptions about its medium. Even films made to be shown at a cinema are also designed to become cassettes for the vast "secondary" market. H. R. Coursen's study of Shakespearean films and television productions includes such classics as Olivier's Hamlet and Brook's and Welles's King Lear, as well as more recent productions such as Kevin Kline's and Mel Gibson's Hamlets, Kenneth Branagh's Henvy V, and Peter Greenaway's version of The Tempest, Prospero's Books. Shakespeare's scripts are designed to be "open to interpretation." That openness is not the invention of disciples of Foucault or Derrida The "meaning" of a Shakespeare script can never be fixed; rather, it is a temporal quality that shows how a script reflects, reinterprets, or reemphasizes the cultural and ideological assumptions of a particular moment in history. Shakespeare remains popular, as Branagh's Henry V, Zeffirelli's Hamlet, and a proliferation of Shakespeare's festivals prove. The energy known as Shakespeare cannot be isolated from the culture that constantly reappropriates the scripts and creates new audiences for them. Shakespeare "works" on television because television is a linguistic medium, and because we are becoming accustomed to the diminished scale of the television (and the videocassette), as opposed to the grander dimensions of cinema. Shakespeare survives domestication, but in ways that demand investigation about why and how the scripts can work on television, and about the nature of this medium when it is charged with Shakespearean energy Watching Shakespeare on Television looks at Gertrude, a character often clear in performance even if "unwritten" in the script, and at Hamlet's disquisition to Yorick's skull, subject to a wide range of options and interpretations. Other subjects covered are "style" in A Midsummer Night's Dream, particularly the 1982 ART production; the advantages film has over studio productions; and editing scripts for television, with a focus on the Nunn Othello and the Kline Hamlet. In the latter production, long takes contrast with the quicksilver montage technique of Zeffirelli's film version. Another chapter examines Othello as a script demanding a black actor in the lead, and it looks at the Nunn and Suzman versions as cases in point. Closure in Hamlet is analyzed as well: television, the modern medium of political closure, tends to include Fortinbras, as opposed to film which usually excludes him Shakespeare, William <1564-1616> Film adaptations Shakespeare, William 1564-1616 (DE-588)118613723 gnd rswk-swf Toneelstukken gtt Verfilmingen gtt Drama English drama Television adaptations Television adaptations History and criticism Bearbeitung (DE-588)4120981-3 gnd rswk-swf Drama (DE-588)4012899-4 gnd rswk-swf Fernsehen (DE-588)4016825-6 gnd rswk-swf Shakespeare, William 1564-1616 (DE-588)118613723 p Drama (DE-588)4012899-4 s Bearbeitung (DE-588)4120981-3 s Fernsehen (DE-588)4016825-6 s DE-604 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=006048156&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Coursen, Herbert R. Watching Shakespeare on television Shakespeare, William <1564-1616> Film adaptations Shakespeare, William 1564-1616 (DE-588)118613723 gnd Toneelstukken gtt Verfilmingen gtt Drama English drama Television adaptations Television adaptations History and criticism Bearbeitung (DE-588)4120981-3 gnd Drama (DE-588)4012899-4 gnd Fernsehen (DE-588)4016825-6 gnd |
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| title | Watching Shakespeare on television |
| title_auth | Watching Shakespeare on television |
| title_exact_search | Watching Shakespeare on television |
| title_full | Watching Shakespeare on television H. R. Coursen |
| title_fullStr | Watching Shakespeare on television H. R. Coursen |
| title_full_unstemmed | Watching Shakespeare on television H. R. Coursen |
| title_short | Watching Shakespeare on television |
| title_sort | watching shakespeare on television |
| topic | Shakespeare, William <1564-1616> Film adaptations Shakespeare, William 1564-1616 (DE-588)118613723 gnd Toneelstukken gtt Verfilmingen gtt Drama English drama Television adaptations Television adaptations History and criticism Bearbeitung (DE-588)4120981-3 gnd Drama (DE-588)4012899-4 gnd Fernsehen (DE-588)4016825-6 gnd |
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