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272 - World Cinema

from Part XXVIII - Shakespeare and Media History

Published online by Cambridge University Press:  17 August 2019

By
Mark Thornton Burnett
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

filmforeign filmglobalglobalizationinternational filmnon-Anglophone filmShakespearesubtitletransnationaltransnationalismworld cinema
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1940 - 1946
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

The Banquet (Ye yan). Dir. Xiaogang, Feng. China/Hong Kong, Media Asia Films Limited/Huayi Brothers Film Investment Co., 2006. Film, 35mm., snd., col., 131 mins.Google Scholar
Burnett, Mark Thornton. Filming Shakespeare in the Global Marketplace. Basingstoke: Palgrave, 2007.CrossRefGoogle Scholar
Burt, Richard, ed. Shakespeares after Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture. 2 vols. Westport: Greenwood, 2007.Google Scholar
Crowl, Samuel. Shakespeare at the Cineplex: The Kenneth Branagh Era. Athens: Ohio UP, 2003.Google Scholar
Hamlet. Dir. Branagh, Kenneth. UK, Castle Rock Entertainment, 1996. Film, snd., col., 238 mins.Google Scholar
Hamlet (Gamlet). Dir. Kozintsev, Grigori. USSR, Lenfilm, 1963. Film, snd., bw., 148 mins.Google Scholar
A Herança (The Inheritance). Dir. Candeias, Ozualdo. Brazil, Longfilm Produtora Cinematografica, 1971. Film, snd., col., 90 mins.Google Scholar
Howard, Tony. Woman as Hamlet: Performance and Interpretation in Theatre, Film and Fiction. Cambridge: Cambridge University Press, 2007.Google Scholar
Huang, Alexa. Chinese Shakespeares: Two Centuries of Cultural Exchange. New York: Columbia UP, 2009. Print.Google Scholar
Intikam Meleği (Kadin Hamlet/Angel of Vengeance/The Female Hamlet). Dir. Erksan, Metin. Turkey, Ugur Film, 1977. Film, snd., col., 100 mins.Google Scholar
King Lear (Karol Lear). Dir. Kozintsev, Grigori. USSR, Lenfilm, 1967. Film, snd., bw., 140 mins.Google Scholar
The Maori Merchant of Venice (Te Tangata Whai Rawa o Weniti). Dir. Selwyn, Don C.. New Zealand, He Taonga Films, 2003. Film, digital video, snd., col., 158 mins.Google Scholar
Maqbool. Dir. Bhardwaj, Vishal. India, Kaleidoscope Productions, 2003. Film, 35mm., snd., col., 134 mins.Google Scholar
Much Ado about Nothing (Mnogo Shuma Iz Nichego). Dir. Samsonov, Samson. USSR, Fiction Films, 1973. Film, snd., col., 83 mins.Google Scholar
Omkara. Dir. Bhardwaj, Vishal. India, Big Screen Entertainer, 2006. Film, snd., col., 151 mins.Google Scholar
Othello (Otello). Dir. Yutkevich, Sergei. USSR, Mosfilm, 1955. Film, snd., col., 107 mins.Google Scholar
Ran (Chaos). Dir. Kurosawa, Akira. Japan, Nippon Herald Films, 1985. Film, snd., col., 160 mins.Google Scholar
Romeo y Julieta. Dir. Delgado, Miguel M.. Mexico, Posa Films, 1943. Film, snd., bw., 100 mins.Google Scholar
Rothwell, Kenneth. A History of Shakespeare on Screen: A Century of Film and Television. 2nd ed. Cambridge: Cambridge University Press, 2004.Google Scholar
Sakai, Naoki. “Translation.” Theory, Culture and Society 23.2–3 (2006): 71–86.CrossRefGoogle Scholar
Silverstone, Catherine. “Speaking Māori Shakespeare: The Maori Merchant of Venice and the Legacy of Colonization.” Screening Shakespeare in the Twenty-first Century. Ed. Burnett, Mark Thornton and Wray, Ramona. Edinburgh: Edinburgh UP, 2006. 127–45.Google Scholar
A Spray of Plum Blossoms (Yijian Mei). Dir. Wangcang, Bu. China, Lianhua Film Company, 1931. Film, slt., 100 mins.Google Scholar
Throne of Blood (Kumonosu-Djo). Dir. Kurosawa, Akira. Japan, Toho Co., Ltd., 1957. Film, snd., bw., 105 mins.Google Scholar
Twelfth Night (Dvenadtsataia noch). Dir. Fried, Yakov. USSR, Lenfilm, 1955. Film, snd., col., 90 mins.Google Scholar
Yellamma (The Prophecy). Dir. Koda, Mohan. India, Magic Lantern, 2001. Film. snd., col., 120 mins.Google Scholar

Further reading

BUFVC International Database of Shakespeare on Film, Television, and Radio. www.bufvc.ac.uk/databases/shakespeare/index.html.Google Scholar
Burnett, Mark Thornton. “Madagascan Will: Cinematic Shakespeares/Transnational Exchanges.” Shakespeare Survey 61(2008): 239–55.Google Scholar
Burnett, Mark Thornton. “Writing Shakespeare in the Global Economy.” Shakespeare Survey 58 (2005), 185–98.Google Scholar
Donaldson, Peter. “‘All which it inherit’: Shakespeare, Globes and Global Media.” Shakespeare Survey 52 (1999): 183–200.Google Scholar
Huang, Alexa, ed. “Asian Shakespeares on Screen: Two Films in Perspective.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 4.2 (2009): 179. http://www.borrowers.uga.edu.Google Scholar
Osborne, Laurie E. “A Local Habitation and a Name: Television and Shakespeare.” Shakespeare Survey 61 (2008): 213–66.Google Scholar
Sinha, Amresh. “The Use and Abuse of Subtitles.” Subtitles: On the Foreignness of Film. Ed. Egoyan, Atom and Balfour, Ian. Cambridge: MIT P, 2004. 172–90.Google Scholar

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