By Diana E. Henderson

This Concise significant other offers a multidisciplinary variety of methods to an unlimited multimedia topic, Shakespeare on monitor. The book’s individuals use the newest considering from cultural experiences, communications, and comparative media, in discussion with literary, theatrical, and filmic methods, so as to push the sphere ahead. they think about Shakespeare on monitor not just as a collection of accomplished items but additionally as a technique. consequently, the amount is geared up round themes akin to authorship and collaboration, theatricality, intercourse and violence, globalization, and background. The Concise better half deals readers various obtainable routes into Shakespeare on monitor and helps additional examine of the topic during the inclusion of a bibliography, a chronological chart, and an intensive index. even as, it serves as a focus for exploring primary matters within the examine of literature and tradition extra extensively, comparable to the relationships among elite and pop culture, paintings and undefined, textual content, picture, and function.

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The producers of culture have nowhere to turn but to the past: imitation of dead styles, speech through all the masks and voices stored up in the imaginary museum of a now global culture” (1991: 17–18). Therefore, Jameson argues, where modernist artists used parody, postmodern artists are forced to use pastiche. I do not understand these postmodern films as somehow “haunted” by dead forms, but as collages of older forms which have been recontextualized, defamiliarized, “made new” for the use of the present.

5 Much of the meaning of these films lies not within themselves but in their relationships with other texts: they do not attempt to be original in the narrow sense but instead participate in a postmodern free-for-all. The knowledge that all work is allusive and/or intertextual is celebrated and exploited. Materials from both “high” and “low” (popular) culture sources are not simply quoted but incorporated into the film’s very substance, dissolving the fixedness of each frame, shifting “Shakespeare” and the revered texts into a democratic, postmodern arena of playful recycling.

1 Luhrmann does not pretend his film is “definitive” – he expects his interpretation to be “replaced” soon – but the play itself will endure as “myth”: “As Benjamin Britten said, if a story is true there will be many different productions in different places and it will survive forever. . ” 18 Getting Back to Shakespeare Similarly, Julie Taymor directed Titus because she believes that Shakespeare’s play is the most powerful “dissertation on violence” for all time: for Taymor, Shakespeare speaks “directly” to a twentiethcentury audience (2000a: 174).

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