Shakespeare on screen
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Présentation
This collection of essays reveals the overwhelming presence of Hamlet in the global Shakespearean screenscape. It offers a wide range of approaches to the play on screen worldwide.
Many Hamlet 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 Hamlet 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 Hamlet signifies or engenders, and upon the way the play circulates and is received in our postmodern,
contemporary culture.
Cet ouvrage collectif révèle la présence écrasante d'Hamlet dans le paysage filmique shakespearien à l’échelle mondiale, et propose de nombreuses manières d’aborder la pièce à l’écran.
Les films d’Hamlet 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 Hamlet 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’Hamlet signifie ou génère, ainsi qu’à la circulation et à la réception de la pièce dans notre culture contemporaine postmoderne.
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