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Archive for the ‘Shakespeare’ Category

MIDSUMMER NIGHT’S DREAM

Filmografía principal
Max Reinhardt/William Dieterle (1935).
Peter Hall, (1969).
Michael Hoffman (1999).

Filmografía relacionada
Peter Weir, Dead Poets’ Society (1989)
Adrian Noble, Midsummer Night’s Dream (1996)
Christine Edzard, Children’s Midsummer Night’s Dream (2001)

Crítica
Peter S. Donaldson, “Two of Both Kinds: Marriage and Modernism in Peter Hall’s A Midsummer Night’s Dream” MS, de próxima aparición en Reel Shakespeare eds. Courtney Lehmann y Lisa Starks.
*Northrop Frye, ” The Argument of Comedy” English Institute Essays, 1948 (New York: Columbia University Press, 1949), págs. 58-73; repr. in Shakespeare: Modern Essays in Criticism (New York: Oxford University Press, 1967 [1957]), págs. 80-89.
Werner Habicht, “Shakespeare and the German Imagination,” en Heather Kerr, Robin Eaden, Madge Mitton, eds., Shakespeare: World Views (Newark, DE, 1996), págs. 87-101.
Diana Harris, “The Diva and the Donkey: Hoffman’s Use of Opera en A Midsummer Night’s Dream, MS. Russell Jackson, “A Shooting Script for the Reinhardt-Dieterle Dream: the War with the Amazons, Bottom’s Wife, and other Missing ‘Scenes,'” Shakespeare Bulletin 16/4 (Fall,1998), 19-41.
*Philip C. McGuire, :”Hippolyta’s Silence and the Poet’s Pen,” in Speechless Dialect (Berkeley: University of California Press, 1988), págs. 1-18.
Louis Montrose, “A Midsummer Night’s Dream and the Shaping Fatasies of Elizabethan Culture: Gender, Power, Form,” en “Rewriting the Renaissance” The Discourses of Sexual Difference in Early Modern Europe, ed. Margaret Ferguson, Maureen Quilligan y Nancy Vickers. Chicago and London: The University of Chicago Press, 1986, págs. 65-87.
Robert Willson, “‘Ill met by moonlight’: Reinhardt’s A Midsummer Night’s Dream and Musical Screwball Comedy,” Journal of Popular Film 5 (1976) 185-97.

HENRY IV, PTS. 1 AND 2; HENRY V

Filmografía principal
Laurence Olivier, Henry V (1944).
Kenneth Branagh, Henry V (1989).
Gus Van Sant, My Own Private Idaho (1991).

Filmografía relacionada
David Giles, Henry IV, Pt. 1; Henry IV, Pt. 2; Henry V [The Shakespeare plays, BBC
TV]. (1979)
Orson Welles: Chimes at Midnight (1966).

Crítica
*Dudley Andrew, Film in the Aura of Art, ch. 8: “Realism, Rheotric and the Painting of History in Henry V (Princeton: Princeton University Press, 1984).
Samuel Crowl, “The Long Goodbye, Welles and Falstaff,” Shakespeare Quarterly. 31 (1980), 369-80; repr. in Crowl, Shakespeare Observed” Studies in Performance on Stage and Screen (Athens, OH: Ohio University Press, 1992), págs. 35-50.
*Peter S. Donaldson, ‘Claiming from the Female: Gender and Representation in Laurence Olivier’s Henry V” en Shakespearean Films/Shakespearean Directors (Boston: Unwin and Hyman, 1990) págs. 1-30.
Stephen J. Greenblatt, “Invisible Bullets,” ch. 2. en Shakespearean Negotiations (Berkeley: University of California press, 1988), cap. 2, págs. 21-65.
Russell Jackson, “Two Films of Henry V: Frames and Stories,” Collection Astraea, No.4:The Show Within: Dramatic and Other Insets. English Renaissance Drama (1550-1642) (Proceedings of the International Conference held in Montpelier, 22-25 Novembre [sic], 1990,ed. Francois Laroque (Montpelier: Universite Paul-Valery-Montpelier III: Centre d’Etudes et de Recherches Elisabethaines, 1991?) págs. 181-197.
Bridget Gellert Lyons, ed., Chimes at Midnight (New Brunswick NJ and London, 1988).
Kenneth S. Rothwell, A History of Shakespeare on Screen: A Century of Film and Television Cambridge: Cambridge University Press, 1999, págs. 84-94. [On Chimes at MidnightI].
Susan Wiseman, “The Family Tree Motel: Subliming Shakespeare in My Own Prvate Idaho, en Lynda E. Boose y Richard Burt, eds., Shakespeare the Movie: Popularizing the plays on Film, TV and Video (New York and London: Routledge, 1997), págs. 225-239.

TAMING OF THE SHREW

Filmografía principal
Franco Zeffirelli, Taming of the Shrew (1967)
Gil Junger, 10 Things I Hate About You (1999)

Filmografía relacionada
Sam Fuller, Taming of the Shrew (1929)
Amy Heckerling, Clueless (1999)

Crítica
*Burt, Richard, “Afterword: Te(e)n Things I Hate about Girlene Shakesploitation Flicks in the Late 1990s, or Not-So-Fast Times at Shakespeare High,” en Lehmann, Courtney, y Lisa S. Starks, eds., Spectacular Shakespeare: Critical Theory and Popular Cinema (Madison, N.J.: Fairleigh Dickinson University Press and London: Associated University Presses, 2002). págs. 205-232.
Barbara Hodgdon, “Katherina Bound; or, Play(K)ating the Strictures of Everyday Life,” en Robert Shaughnessy, ed., Shakespeare on Film: Contmeporary Critical Essays (Houndsmills, Basingstoke, Hamphire: MacMillan and London: Macmillan and New York: St. Martin’s Press, 1998), págs. 156-172.
Lynda Boose, “Scolding Brides and Bridling Scolds: Taming the Woman’s Unruly member,” Shakespeare Quarterly 42.2 (Summer, 1991) 179-213.
*Diana E. Henderson, “A Shrew for the Times,” en Lynda E. Boose y Richard Burt, eds., Shakespeare the Movie: Popularizing the plays on Film, TV and Video (New York and London: Routledge, 1997), págs. 148-168.

ROMEO AND JULIET

Filmografía principal
Franco Zeffirelli, Romeo and Juliet (1968)
Baz Luhrmann, William Shakespeare’s Romeo + Juliet (1996)
John Madden, Shakespeare in Love (1998)

Filmografía relacionada
George Cukor, Romeo and Juliet (1936)
Renato Castellani, Romeo and Juliet (1954)
Robert Wise, West Side Story (1961)

Crítica
Katherine Dalsimer, Female Adolescence (New Haven and London: Yale University Press, 1986).
Peter S. Donaldson, “‘Let Lips do what hands do’: Male Bonding, Eros and Loss in Zeffirelli’s Romeo and Juliet,” en Shakespearean Films/Shakespearean Directors (Boston: Unwin and Hyman, 1990), págs. 145-188.
* _______, “’In Fair Verona:’ Media, Spectacle and Performance in Romeo + Juliet” en Richard Burt, ed. Shakespeare after Mass Media. (New York: Palgrave, 2002), 59-82.
Hodgdon, Barbara. 1999. “William Shakespeare’s Romeo + Juliet: Everything’s Nice in America?” Shakespeare Survey 52, 88-98.
Courtney Lehmann, “Shakespeare in Love: Romancing the Author, Mastering the Body,” en Spectacular Shakespeare: Critical Theory and Popular Cinema (Madison, N.J.: Fairleigh Dickinson University Press and London: Associated University Presses, 2002), págs. 125-148.
Edward Snow, “Language and Sexual Difference in Romeo and Juliet,” en Shakespeare’s ‘Rough Magic”: Essays in Honor of C.L. Barbe, ed. Peter Erickson y Coppelia Kahn. (Newark: University of Delaware Press, 1985), págs. 168-192).

HAMLET

Filmografía principal
Laurence Olivier, Hamlet (1948)
Michael Almereyda, Hamlet (2000)

Filmografía relacionada
Svend Gade, Hamlet (1920)
John Gielgud, Hamlet (1964) [“electronovision” versión de 1964 producción escénica]
Grigorii Kozintsev, Hamlet (1964)
Tony Richardson, Hamlet (1969)
Ragnar Lyth, Hamlet (1982)
Franco Zeffirelli, Hamlet (1990)
Kenneth Branagh, Hamlet (1996)

Crítica
Janet Adelman, “Hamlet and the Confrontation with the Maternal Body,” págs. 241-82 en Hamlet (Boston: St. Martin’s, 1994).
Felix Barker, The Tremulous Private Body (Ann Arbor: University of Michigan Press, 1995 [1984]; cap. On Hamlet.
Stephen Greenblatt, Hamlet in Purgatory (Princeton: Princeton University press, 2001).
Ernest Jones, Hamlet and Oedipus (London: Victor Gollacz, 1949).
G. Wilson Knight, “The Embassy of Death,” in The Wheel of Fire (London: Methuen, 1930, repr. 1954).
Courtney Lehmann, “The Machine in the Ghost: Hamlet’s Cinematographic Kingdom,” cap. 3 en Shakespeare Remains (Ithaca: Cornell University Press, 2002), págs. 89-129.
Robert Weimann, “Performance and Authority in Hamlet (1603),” págs. 52-63 en Donald Hedrick and Bryan Reynolds, eds., Shakespeare without Class: Misappropriations of Cultural Capital (New York: Palgrave, 2000).

RICHARD III

Filmografía principal
Richard Loncraine, Richard III (1996)
Al Pacino, Looking for Richard (1996)

Filmografía relacionada
Laurence Olivier, Richard III (1953)

Crítica
Herbert Coursen, “Filming Shakespeare’s History: Three Films of Richard III,” en The Cambridge Companion to Shakespeare on Film, ed Russell Jackson (Cambridge: Cambridge UP, 2000), págs. 97-115.
*Peter S. Donaldson, “Cinema and the Kingdom of Death: Loncraine’s Richard III,” MS (de próxima aparición en Shakespeare Quarterly).
Barbara Freedman, “Critical Junctures in Shakespeare Film History; The Case of Richard III,” en The Cambridge Companion to Shakespeare on Film, ed Russell Jackson (Cambridge: Cambridge UP, 2000), 65-66.
Barbara Hodgdon, “Replicating Richard: Body Doubles, Body Politics,” Theatre Journal 50 (May, 1998).

TITUS ANDRONICUS

Filmografía principal
Julie Taymor, Titus (1999)

Filmografía relacionada
Jane Howell, Titus Andronicus (1985)

Crítica
*Richard Burt, “Shakespeare and the Holocaust: Julie Taymor’s Titus is Beautiful, or Shakesploi Meets (the) Camp, en Richard Burt, ed., Shakespeare after Mass Media (New York: Palgrave, 2002). págs. 295-330.

KING LEAR

Filmografía principal
Michael Elliott, King Lear (1984)
Jean-Luc Godard King Lear (1987)

Filmografía relacionada
Grigorii Kozintsev, King Lear (1970)
Peter Brook, King Lear (1971)
Akira Kurosawa, Ran (1985)

Crítica
Thomas Clayton, “‘Is this the promis’d end?’ Revision in the Role of the King,” en The Division of the Kingdoms” Shakespeares Two Versions of King Lear, eds. Gary Taylor y Michael J. Warren (Oxford, 1983), págs. 121-141.
Peter S. Donaldson, “Disseminating Shakespeare: Paternity and text in Jean-Luc Godard’s King Lear, en Shakespearean Films/Shakespearean Directors (Boston: Unwin and Hyman, 1990), págs. 189-225.
Michael Warren, “Preface,” The Complete King Lear, 1608-1623 (Berkeley : University of California Press, 1989).

THE TEMPEST

Filmografía principal
Paul Mazursky, Tempest (1982)
Peter Greenaway, Prospero’s Books (1991)

Filmografía relacionada
Derek Jarman, The Tempest (1979)
Fred M. Wilcox, Forbidden Planet (1956)

Crítica
Francis Barker y Peter Hume, “‘Nymphs and reapers heavily vanish’: The Discursive Con-Texts of The Tempest,” en John Drakakis, ed., Alternative Shakespeares, London and New York: Methuean, 1985).
Paul Brown, “‘This thing of darkness I acknowledge mine’: The Tempest and the Discourse of Colonialism” en Jonathan Dollimore y Alan Sinfield, eds. Political Shakespeare: new essays in Cultural materialism (Manchester: Manchester University Press, 1985)), págs. 48-71.
Douglas Bruster, “The Postmodern Theater of Paul Mazursky’s Tempest,” in Mark Thornton Burnett y Ramona Wray, eds., Shakespeare Fin de Siecle (Houndsmills, Basingstoke, Hamphire: MacMillan and London: Macmillan and New York: St, Martin’s Press), págs. 26-39.
Peter S. Donaldson, “Shakespeare in the Age of Mechanical Reproduction: Sexual and Electronic Magic in Prospero’s Books,” en Lynda E. Boose y Richard Burt, eds., Shakespeare the Movie: Popularizing the plays on Film, TV and Video (New York and London: Routledge, 1997), págs. 169-185.
_____, Digital Archives and Sibylline Fragments: The Tempest and the End of Books,”Postmodern Culture 8.2 (Jan., 1998). Special Issue on Film. (Online Journal at http://muse.jhu.edu/journals/postmodern_culture/ also at http://shea.mit.edu/eob .
Mary Fuller, “Forgetting the Aeneid,” American Literary History (Summer, 1992) 517-38.
Stephen J. Greenblatt, “Learning to Curse: Aspects of Linguistic Colonialism in the 16th Century,” en Fredi Chapelli, ed. First images of America: The Impact of the New World in the Old (Berkeley: University of California Press, 1976)págs. 561-580; repr. en Stephen J. Greenblatt, Learning to Curse (London: Routledge, 1990), págs. 16-39.
Douglas Lanier, “Drowning the Book: Prospero’s Books and the Textual Shakespeare,” en James C. Bulman, ed., Shakespeare, Theory and Performance (New York and London: Routledge, 1996), págs. 187-209.
Ottavo Mannoni, Prospero and Caliban: The Psychology of Colonialism, tr. Pamela Powesland (New York: Praeger, 1964 [1950]).
Alden T. Vaughan y Virginia Mason Brown, Shakespeare’s Caliban: A Cultural history (Cambridge: Cambridge University Press, 1990).

Fuente: http://mit.ocw.universia.net/21l.435/f02/index.html

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