Shakespeare on screen
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Présentation
<P>This collection of essays reveals the overwhelming presence of <em>Hamlet</em> in the global Shakespearean screenscape. It offers a wide range of approaches to the play on screen worldwide.<br />
Many <em>Hamlet</em> films are haunted by the shadows of other films, as if the ghost of Hamlet were a paradigmatic figure mirroring how the cinematic reconstructions of the play operate. The articles acknowledge <em>Hamlet</em> as a repository of symbolic power and cultural authority while showing how Shakespeare's western, northern, English-speaking "centre" is challenged or, at least, revisited through geographical dissemination. The adaptations, appropriations, spin offs, quotes and misquotes examined in the volume invite us to reflect upon what <em>Hamlet</em> signifies or engenders, and upon the way the play circulates and is received in our postmodern,<br />
contemporary culture.</p>
<P><br />
Cet ouvrage collectif révèle la présence écrasante d'<em>Hamlet</em> dans le paysage filmique shakespearien à l’échelle mondiale, et propose de nombreuses manières d’aborder la pièce à l’écran. <br />
Les films d’<em>Hamlet</em> sont hantés par l’ombre d’autres films, comme si les reconstructions filmiques venaient faire écho à la figure paradigmatique du fantôme. Les articles de ce volume reconnaissent en <em>Hamlet</em> un véritable creuset de pouvoir symbolique et d’autorité culturelle, tout en montrant comment le «centre» d’un Shakespeare occidental et anglophone est remis en question ou, du moins, rendu complexe à travers la dissémination géographique de la pièce. Les adaptations, appropriations et dérivés filmiques, qui citent ou transforment Shakespeare, nous permettent de réfléchir à ce qu’<em>Hamlet</em> signifie ou génère, ainsi qu’à la circulation et à la réception de la pièce dans notre culture contemporaine postmoderne.</p>
Table des matières
Notes on the Contributors
Sarah Hatchuel and Nathalie Vienne-Guerrin — Preface
Samuel Crowl — Hamlet on Film at Mid-Century and Fin de Siècle: Olivier and Branagh
Bernice W. Kliman — Hallmark Hall of Fame: Three Go's at Hamlet (1953, 1970, 2000)
Dominique Goy-Blanquet — The Country Matters in Kozintsev's Elsinore
Jacek Fabiszak — To Cut or Not to Cut? What's in the Written Text of Filmed Hamlets
Russell Jackson — The Gaps in Gertrude: Interpretations of the Role in Five Feature Films
Patricia Lennox — Joseph Papp and Diane Venora Rehearsing Hamlet
Victoria Bladen — The Ghost and the Skull: Rupturing Borders between the Living and the Dead in Filmed Hamlets
Pierre Kapitaniak — Hamlet's Ghost on Screen: The Paradox of the Seventh Art
Mark Thornton Burnett — Hamlet and World Cinema: A Paradigmatic Instance
Anne-Marie Costantini-Cornède — Akira Kurosawa's The Bad Sleep Well (1960) and Aki Kaurismäki's Hamlet Goes Business (1987): Film Noir or Neo-Noir Modern Hamlets, or Genre as an Ideological Signifier
Douglas Lanier — Nouveau Noir: Claude Chabrol's Ophélia, Shakespeare’s Hamlet, and the Nouvelle Vague
Sarah Hatchuel, Nathalie Vienne-Guerrin — "I’ve been killed, but I’m not dead": Remains of Hamlet in the French telefilm L’Embrumé (1980)
Frédéric Delord — André Téchiné’s "Shakespearean Trilogy"
Gaëlle Ginestet — Une femme douce by Robert Bresson: Hamlet or Anti-Cinematography
Courtney Lehmann — 2B or not 2B: The Elect(ed) and the Damned in Hamlet 2
Sylvaine Bataille — "Hamlet on Harleys": Sons of Anarchy’s Appropriation of Hamlet
Mariangela Tempera — "Not to Be": Referencing the Rest of Hamlet on Screen
José Ramón Díaz Fernández — Hamlet on Screen: An Annotated Filmo-Bibliography