Book contents
- Still Shakespeare and the Photography of Performance
- Still Shakespeare and the Photography of Performance
- Copyright page
- Dedication
- Contents
- Figures
- Acknowledgements
- Introduction: ‘Leave Not a Rack Behind’
- Part I Photographing Performers
- Part II Iconography, Photography, and Hamlet
- Bibliography
- Index
- References
Bibliography
Published online by Cambridge University Press: 05 December 2019
Book contents
- Still Shakespeare and the Photography of Performance
- Still Shakespeare and the Photography of Performance
- Copyright page
- Dedication
- Contents
- Figures
- Acknowledgements
- Introduction: ‘Leave Not a Rack Behind’
- Part I Photographing Performers
- Part II Iconography, Photography, and Hamlet
- Bibliography
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Still Shakespeare and the Photography of Performance , pp. 232 - 244Publisher: Cambridge University PressPrint publication year: 2019
References
Aasand, Hardin L., ‘“Pah! Puh!”: Hamlet, Yorick, and the Chopless Stage Direction’, in Stage Directions in ‘Hamlet’: New Essays and New Directions, ed. by Aasand, Hardin L. (Cranbury, London, and Mississauga, Toronto: Associated University Presses, 2003), pp. 214–15.Google Scholar
Aebischer, Pascale, Shakespeare’s Violated Bodies: Stage and Screen Performance (Cambridge University Press, 2004).Google Scholar
Aebischer, Pascale ‘Yorick’s Skull: Hamlet’s Improper Property’, EnterText 1.2 (2001), 206–25.Google Scholar
Aebischer, Pascale, Greenhalgh, Susanne, and Osborne, Laurie E. (eds), Shakespeare and the ‘Live’ Theatre Broadcast Experience (London: Bloomsbury, 2018).Google Scholar
Altick, Richard D., Paintings from Books: Art and Literature in Britain, 1760–1900 (Columbus: Ohio State University Press, 1985).Google Scholar
Anderson, Joel, Theatre and Photography (London and New York: Palgrave Macmillan, 2015).Google Scholar
Anon, . [J. H. Croucher], ‘Plain Directions for Obtaining Photographic Pictures by the Calotype and Energiatype’, Willats Scientific Manual No. 1, 1st edn (London, 1844).Google Scholar
Aragon, , Louis, Aurélien, in Oeuvres romanesques croisées d’Elsa Triolet et Aragon, vols. 19 and 20 (Paris: Lafont, 1966).Google Scholar
Auslander, Philip, Liveness: Performance in a Mediatised Culture (London and New York: Routledge, 1999).Google Scholar
Auslander, Philip ‘The Performativity of Performance Documentation’, Journal of Performance and Art 28.3 (2006), 1–10.CrossRefGoogle Scholar
Azoulay, Ariella, The Civil Contract of Photography, trans. Mazali, Rela and Danieli, Ruvik (New York: Zone Books, 2012).Google Scholar
Bachelard, Gaston, L’Eau et les Rêves: Essai sur l’imagination de la matière (Paris: Librairie José Corti, 1942).Google Scholar
Baker, George, Daly, Ann, Davenport, Nancy, Larson, Laura, and Sundell, Margaret, ‘Francesca Woodman Reconsidered: A Conversation with George Baker, Ann Daly, Nancy Davenport, Laura Larson and Margaret Sundell’, Art Journal 62.2 (2003), 53–67.Google Scholar
Bamber, Linda, Comic Women, Tragic Men: Study of Gender and Genre in Shakespeare (Stanford University Press, 1982).Google Scholar
Barnden, Sally, ‘Photographing Titus Andronicus: Textual Fidelity, Spectacle and the Performance Tradition’, Theatre Journal 69.4 (2017), 555–71.Google Scholar
Barnes, Jennifer, Shakespearean Star: Laurence Olivier and National Cinema (Cambridge University Press, 2017).Google Scholar
Barthes, Roland, Camera Lucida: Reflections on Photography, trans. by Howard, Richard (London: Vintage, 2000).Google Scholar
Barthes, Roland ‘The Rhetoric of the Image’, in Image Music Text, trans. by Heath, Stephen (London: Fontana Press, 1977), pp. 32–52.Google Scholar
Batchen, Geoffrey, Burning with Desire: The Conception of Photography (Cambridge, MA: MIT Press, 1999).Google Scholar
Bate, Jonathan and Jackson, Russell, The Oxford Illustrated History of Shakespeare on Stage (Oxford University Press, 2001).Google Scholar
Baudrillard, Jean, Symbolic Exchange and Death, trans. by Hamilton Grant, Iain (London: SAGE Publications, 1976).CrossRefGoogle Scholar
Benjamin, Walter, The Arcades Project, trans. by Eiland, Howard and McLaughlin, Kevin (Cambridge, MA: Harvard University Press, 1999).Google Scholar
Benjamin, Walter ‘A Small History of Photography’, trans. by Jephcott, Edmund and Shorter, Kingsley, in Philosophers on Art from Kant to the Postmodernists, ed. by Kul-Want, Christopher (New York and Chichester: Columbia University Press, 2010), pp. 102–17.Google Scholar
Benjamin, Walter The Work of Art in the Age of Mechanical Reproduction, trans. by Underwood, J. A. (London: Penguin, 2008).Google Scholar
Bennett, Susan, Performing Nostalgia: Shifting Shakespeare and the Contemporary Past (London and New York: Routledge, 1996).Google Scholar
Berger, Lynn, ‘Peer Production in the Age of Collodion: The Bromide Patent and the Photographic Press, 1854–1868’, in Photography and Other Media in the Nineteenth Century, ed. by Leonardi, Nicoletta and Natale, Simone (University Park, PA: Pennsylvania State University Press, 2018), pp. 91–102.Google Scholar
Blackwell, Anna, Shakespearean Celebrity in the Digital Age: Fan Cultures and Remediation (New York: Palgrave Macmillan, 2018).Google Scholar
Blau, Herbert, Take Up the Bodies: Theater at the Vanishing Point (Urbana, IL: University of Illinois Press, 1982).Google Scholar
Bracewell, Michael, ‘Tom Hunter and the Modern World’, in Tom Hunter, ed. by Hunter, Tom and Wainwright, Jean (Ostfildern-Ruit, Germany: Hatje Cantz, 2003).Google Scholar
Brewster, David, The Stereoscope: Its History, Theory and Construction, with Its Application to the Fine and Useful Arts and to Education (London: John Murray, 1856).Google Scholar
Bronfen, Elisabeth, Over Her Dead Body: Death, Femininity and the Aesthetic (New York: Routledge, 1992).Google Scholar
Buchanan, Judith, Shakespeare on Silent Film: An Excellent Dumb Discourse (Cambridge University Press, 2009).Google Scholar
Buckle, Scott Thomas, ‘Is This the Face of Alessandro di Marco? The Forgotten Features of a Well-Known Italian Model’, British Art Journal 13.2 (2012), 67–75.Google Scholar
Burnett, Mark Thornton, ‘“To Hear and See the Matter”: Communicating Technology in Michael Almereyda’s Hamlet (2000)’, Cinema Journal 42.3 (2003), 48–69.CrossRefGoogle Scholar
Cadava, Eduardo, ‘Words of Light: Theses on the Photography of History’, in Fugitive Images: From Photography to Video, ed. by Petro, Patrice (Bloomington, IN: Indiana University Press, 1995), pp. 221–44.Google Scholar
Cameron, Julia Margaret, Victorian Photographs of Famous Men and Fair Women, with Introductions by Virginia Woolf and Roger Fry, rev. edn (London: The Hogarth Press, 1973).Google Scholar
Carlson, Marvin, The Haunted Stage: The Theater as Memory Machine (Ann Arbor, MI: University of Michigan Press, 2001).Google Scholar
Carlyle, Thomas, ‘The Hero as Poet. Dante. Shakespeare’, in Carlyle, Thomas, On Heroes, Hero-Worship and the Heroic in History (London: Chapman and Hall, 1840), pp. 93–136.Google Scholar
Carlyle, Thomas ‘On History’, in Historical Essays, ed. by Vanden Bossche, Chris R. (Berkeley, CA: University of California Press, 2002), pp. 3–14.Google Scholar
Carter, Angela, ‘Overture and Incidental Music for A Midsummer Night’s Dream’, in Black Venus (London: Random House, 1996), pp. 43–53.Google Scholar
Cartier-Bresson, Henri, The Decisive Moment: Photography by Henri Cartier-Bresson (New York: Simon and Schuster, 1952).Google Scholar
Cherry, Deborah, and Pollock, Griselda, ‘Patriarchal Power and the Pre-Raphaelites’, Art History 7.4 (1984), 480–95.Google Scholar
‘Woman as Sign in Pre-Raphaelite Literature: A Study of the Representation of Elizabeth Siddall’, Art History 7.2 (1984), 206–27.Google Scholar
Christian, John, ‘Shakespeare in Victorian Art’, in Shakespeare in Art, ed. by Martineau, Jane, Bate, Jonathan, and Shawe-Taylor, Desmond (London: Merrill and Dulwich Picture Gallery, 2003), pp. 216–21.Google Scholar
Cole, John William, The Life and Theatrical Times of Charles Kean, F. S. A., Including a Summary of the English Stage for the Last Fifty Years, and a Detailed Account of the Management of the Princess’s Theatre, from 1850 to 1859, 2nd edn (London: Richard Bentley, 1860).Google Scholar
Coleridge, Samuel Taylor, Lectures 1808–1819 on Literature, ed. by Foakes, R. A., vol. 2 (Princeton, NJ, and London: Princeton University Press, 1987).Google Scholar
Coursen, H. R., ‘Ophelia in Performance in the Twentieth Century’, in The Myth and Madness of Ophelia, ed. by Kiefer, Carol Solomon (Amherst, MA: Mead Art Museum, 2001), pp. 53–61.Google Scholar
Cox, Julian, and Ford, Colin, Julia Margaret Cameron: The Complete Photographs (London: Thames and Hudson, 2003).Google Scholar
Crary, Jonathan, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, MA and London: The MIT Press, 1990).Google Scholar
Derrida, Jacques, ‘The Deaths of Roland Barthes’, in The Work of Mourning, ed. and trans. by Brault, Pascale-Anne and Naas, Michael (University of Chicago Press, 1981), pp. 31–68.Google Scholar
Derrida, Jacques ‘Signature Event Context’, trans. by Weber, Samuel and Mehlmann, Jeffrey, in Limited, Inc. (Evanston, IL: Northwestern University Press, 1977), pp. 1–25.Google Scholar
Derrida, Jacques ‘That Dangerous Supplement’, in Of Grammatology, trans. by Spivak, Gayatri Chakravorty (Baltimore, MD: Johns Hopkins University Press, 1976), pp. 153–78.Google Scholar
Dessen, Alan C., Rescripting Shakespeare: The Text, the Director, and Modern Performance (Cambridge University Press, 2002).Google Scholar
Dickens, Charles, Great Expectations, ed. by Cardwell, Margaret (Oxford University Press, 1993).Google Scholar
Dijkstra, Bram, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture (Oxford University Press, 1986).Google Scholar
Dillard, Leigh, ‘Drawing Outside the Book: Parallel Illustration and the Creation of a Visual Culture’, in Book Illustration in the Long Eighteenth Century: Reconfiguring the Visual Periphery of the Text, ed. by Ionescu, Christina (Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2011), pp. 195–241.Google Scholar
Dobson, Austin (ed.), The Images and Storied Aspects of Death, as Elegantly Delineated as [They Are] Ingeniously Imagined: Holbein’s Dance of Death (eBook: University of Adelaide, 2013).Google Scholar
Dobson, Michael, The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769 (Oxford: Clarendon, 1994).Google Scholar
Dobson, Michael Shakespeare and Amateur Performance: A Cultural History (Cambridge University Press, 2011).Google Scholar
Donaldson, Peter S., ‘Cinema and the Kingdom of Death: Loncraine’s Richard III’, Shakespeare Quarterly 53.2 (2002), 241–59.Google Scholar
Donohue, Joseph, ‘Evidence and Documentation’, in Interpreting the Theatrical Past: Essays in the Historiography of Performance, ed. by Postlewait, Thomas and McConachie, Bruce A. (Iowa City, IA: University of Iowa Press, 1989), pp. 177–97.Google Scholar
Durand, Régis, ‘How to See (Photographically)’, in Fugitive Images: From Photography to Video, ed. by Petro, Patrice (Bloomington, IN: University of Indiana Press, 1995), pp. 141–51.Google Scholar
Fazel, Valerie, and Geddes, Louise (eds), The Shakespeare User: Cultural and Critical Appropriation in the Twenty-First Century (New York: Palgrave Macmillan, 2017).Google Scholar
Flusser, Vilém, Towards a Philosophy of Photography, trans. by Matthews, Anthony (London: Reaktion, 2000).Google Scholar
Foakes, R. A. ‘Introduction’ to A Midsummer Night’s Dream (Cambridge University Press, 2003).Google Scholar
Ford, Colin, Julia Margaret Cameron: A Critical Biography (Los Angeles: The J. Paul Getty Museum, 2003).Google Scholar
Ford, Colin ‘“Mountain Nymph” and “Damnèd Villain”: Posing for Julia Margaret Cameron’, History of Photography 27.1 (2003), 61–5.Google Scholar
Foucault, Michel, The Order of Things: An Archaeology of the Human Sciences (London and New York: Routledge, 1989).Google Scholar
Foucault, Michel ‘What is an Author?’ in Aesthetics, Method and Epistemology, vol. 2, ed. by Faubion, James D., trans. by Hurley, Robert and others, (New York: The New Press, 1998), pp. 205–22.Google Scholar
Foulkes, Richard, ‘Charles Kean’s Richard II: A Pre-Raphaelite Drama’, in Shakespeare and the Victorian Stage, ed. by Foulkes, Richard (Cambridge University Press, 1986), pp. 39–55.Google Scholar
Foulkes, Richard ‘The Laroche Photographs of Charles Kean’s Shakespeare Revivals’, Theatrephile 2.8 (1986), 29–32.Google Scholar
François, Anne Isabelle, ‘Nature morte à la noyée. Poésie et photographie aux XIXe and XXe siècles’, Cahiers ERTA 6, ‘La Nature Morte’ (2014), 129–43.Google Scholar
Frizot, Michel, The New History of Photography, trans. by Bennett, Susan, Clegg, Liz, Crook, John, and Higgitt, Caroline (Cologne: Könemann Verlagsgesellschaft, 1998).Google Scholar
Frye, Roland Mushat, ‘Ladies, Gentlemen and Skulls: Hamlet and the Iconographic Tradition’, Shakespeare Quarterly 30.1 (1979), 15–28.CrossRefGoogle Scholar
Fyfe, Gordon, Art, Power and Modernity: English Art Institutions, 1750–1950 (London and New York: Leicester University Press, 2001).Google Scholar
Galey, Alan, The Shakespearean Archive: Experiments in New Media from the Renaissance to Postmodernity (Cambridge University Press, 2014).Google Scholar
Garber, Marjorie, ‘Remember Me: Memento Mori Figures in Shakespeare’s Plays’, Renaissance Drama 12 (1981), 3–25.Google Scholar
Gernsheim, Helmut, Julia Margaret Cameron: Her Life and Photographic Work (New York: Aperture, 1975).Google Scholar
Gorky, Maxim, ‘A Review of the Lumière Programme at the Nizhni-Novgorod Fair’, Nizhegorodski listok 4 July 1896, trans. by Swan, Leda; Appendix 2 in Leyda, Jay, Kino: a History of the Russian and Soviet Film (London: Allen & Unwin, 1983), pp. 407–09.Google Scholar
Gumport, Elizabeth, ‘The Long Exposure of Francesca Woodman’, The New York Review of Books, 24 January 2011. www.nybooks.com/daily/2011/01/24/long-exposure-francesca-woodman/ [Accessed 12 May 2019].Google Scholar
Hancock, Nelson, ‘The Ultimate Film Still: The Art Photographer Gregory Crewdson Shares Tales From the Set of His Latest Production’, The New York Times Magazine, 25 March 2001, pp. 50–3.Google Scholar
Hankins, Thomas L., and Silverman, Robert J., Instruments and the Imagination (Princeton, NJ: Princeton University Press, 1995).Google Scholar
Hardy, Ellen, Pictorial Effect/Naturalistic Vision: The Photographs and Theories of Henry Peach Robinson and Peter Henry Emerson (Norfolk, VA: Chrysler Museum, 1994).Google Scholar
Hawksley, Lucinda, Lizzie Siddal: the Tragedy of a Pre-Raphaelite Supermodel (London: André Deutsch, 2008).Google Scholar
Haynes, John, and Anderson, Lindsay, Taking the Stage: Twenty-One Years of the London Theatre (London: Thames and Hudson, 1986).Google Scholar
Hazlitt, William, ‘Mr. Kean’s Richard II’, in Richard II: Shakespeare: The Critical Tradition, ed. by Forker, Charles R. (London and Atlantic Highlands, NJ: The Athlone Press, 1998), pp. 102–5.Google Scholar
Henisch, Heinz K. and Henisch, Bridget A., The Photographic Experience, 1839–1914: Images and Attitudes (University Park, PA: Pennsylvania State University Press, 1994).Google Scholar
Hirsch, Robert, Seizing the Light: A History of Photography (New York: McGraw Hill, 2000).Google Scholar
Hodgdon, Barbara, ‘Here Apparent: Photography, History and the Theatrical Unconscious’, in Textual and Theatrical Shakespeare: Questions of Evidence, ed. by Pechter, Edward (Iowa City, IA: University of Iowa Press, 1996), pp. 181–209.Google Scholar
Hodgdon, Barbara ‘Photography, Theater, Mnemonics; or, Thirteen Ways of Looking at a Still’, in Theorizing Practice: Redefining Theatre History, ed. by Holland, Peter and Worthen, W. B. (Basingstoke: Palgrave Macmillan, 2003), pp. 88–119.Google Scholar
Hodgdon, Barbara Shakespeare, Performance and the Archive (London and New York: Routledge, 2015).Google Scholar
Hodgdon, Barbara The Shakespeare Trade: Performances and Appropriations (Philadelphia: University of Pennsylvania Press, 1998).Google Scholar
Holland, Peter, ‘Haunting Shakespeare; or, King Lear Meets Alice’, inTheatre and Ghosts: Materiality, Performance and Modernity, ed. by Luckhurst, Mary and Morin, Emilie (Basingstoke: Palgrave Macmillan, 2014), pp. 197–216.Google Scholar
Holland, Peter (ed.), Shakespeare, Memory and Performance (Cambridge University Press, 2006).Google Scholar
Hoving, Kirsten, ‘“Flashing Thro’ the Gloom”: Julia Margaret Cameron’s “Eccentricity”’, History of Photography 27.1 (2003), 45–59.Google Scholar
Howard, Tony, Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction (Cambridge University Press, 2007).Google Scholar
Huang, Alexa, and Rivlin, Elizabeth (eds), Shakespeare and the Ethics of Appropriation (New York: Palgrave Macmillan, 2014).Google Scholar
Jones, Amelia, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal 56.4 (1997), 11–18.Google Scholar
Kean, Charles, Shakespeare’s Play of King Richard II Arranged for Representation at The Princess’s Theatre with Historical and Explanatory Notes (London: John K. Chapman and Co., 1857).Google Scholar
Kennedy, Dennis, Looking at Shakespeare: A Visual History of Twentieth-Century Performance (Cambridge University Press, 1993).Google Scholar
Kennel, Sarah, with Waggoner, Diane and Carver-Kubik, Alice, In the Darkroom: An Illustrated Guide to Photographic Processes before the Digital Age (New York: Thames and Hudson, 2010).Google Scholar
Kidnie, Margaret Jane, ‘Citing Shakespeare’, in Shakespeare, Memory and Performance, ed. by Holland, Peter (Cambridge University Press, 2006), pp. 117–32.Google Scholar
Kidnie, Margaret Jane Shakespeare and the Problem of Adaptation (Abingdon: Routledge, 2009).Google Scholar
Kiefer, Carol Solomon, The Myth and Madness of Ophelia (Amherst, MA: Mead Art Museum, 2001).Google Scholar
Kinch, Ashby, ‘Image, Ideology, and Form: The Middle English Three Dead Kings in its Iconographic Context’, The Chaucer Review 43.1 (2008), 49–82.Google Scholar
Kott, Jan, Shakespeare Our Contemporary, trans. by Taborski, Boleslaw (London: Methuen, 1964).Google Scholar
Lanier, Douglas, Shakespeare and Modern Popular Culture (Oxford University Press, 2002).Google Scholar
Lanier, Douglas ‘Shakespearean Rhizomatics: Adaptation, Ethics, Value’, in Shakespeare and the Ethics of Appropriation, ed. by Huang, Alexa and Rivlin, Elizabeth (New York: Palgrave Macmillan, 2014), pp. 21–40.Google Scholar
LaPorte, Charles, ‘The Devotional Texts of Victorian Bardolatry’, in Shakespeare, the Bible, and the Form of the Book: Contested Scriptures, ed. by DeCook, Travis and Galey, Alan (Abingdon and New York: Routledge, 2012), pp. 143–59.Google Scholar
Le Gallienne, Richard, The Worshipper of the Image (London and New York: John Lane, 1900).Google Scholar
Lehmann, Courtney, Shakespeare Remains: Theater to Film, Early Modern to Postmodern (Ithaca, NY, and London: Cornell University Press, 2002).Google Scholar
Lesberg, Sandy, ‘Introduction’, to The Memoirs of Sarah Bernhardt: Early Childhood through the First American Tour and Her Novella ‘In the Clouds’ (New York and London: Peebles Press, 1977).Google Scholar
Levine, Philippa, The Amateur and the Professional: Antiquarians, Historians and Archaeologists in Victorian England, 1838–1886 (Cambridge University Press, 1986).Google Scholar
Linfield, Susie, The Cruel Radiance: Photography and Political Violence (University of Chicago Press, 2011).Google Scholar
Loh, Alyssa and Vescovi, Alma, ‘Interview with Photographer Gregory Crewdson’, The American Reader, [n.d.] http://theamericanreader.com/interview-with-photographer-gregory-crewdson/ [Accessed 9 March 2016.]Google Scholar
Lunney, Ruth, Marlowe and the Popular Tradition: Innovation in the English Drama before 1595 (Manchester University Press, 2002).Google Scholar
MacDonald, Michael, ‘“The Inner Side of Wisdom”: Suicide in Early Modern England’, Psychological Medicine 7 (1977), 565–85.Google Scholar
MacDonald, Michael ‘Ophelia’s Maimèd Rites’, Shakespeare Quarterly 37.3 (1986), 309–17.CrossRefGoogle Scholar
Macready, William Charles, The Journal of William Charles Macready, 1832–1851, ed. by Trewin, J. C. (London: Longman, 1967).Google Scholar
Maher, Mary Z., ‘A Midsummer Night’s Dream: Nightmare or Gentle Snooze?’ in A Midsummer Night’s Dream: Critical Essays, ed. by Kehler, Dorothea (Hove: Psychology Press, 1998), pp. 429–50.Google Scholar
Marsh, Anne, The Darkroom: Photography and the Theatre of Desire (Victoria: Macmillan Art Publishing, 2003).Google Scholar
Marshall, Gail, ‘Patriotism and Charles Kean: Henry V in 1859’, Nineteenth Century Theatre and Film 36.1 (2009), 61–72.Google Scholar
Mavor, Carol, Becoming: The Photographs of Clementina, Lady Hawarden (Durham, NC: Duke University Press, 1999).Google Scholar
Mayer, David, ‘The Actress as Photographic Icon: Early Photography to Early Film’, in The Cambridge Companion to the Actress, ed. by Gale, Maggie B. and Stokes, John (Cambridge University Press, 2007), pp. 74–94.Google Scholar
Mayer, David ‘Quote the Words to Prompt the Attitudes: The Victorian Performer, the Photographer, and the Photograph’, Theatre Survey 43.2 (2002), 223–51.Google Scholar
McBean, Angus, Vivien: A Love Affair in Camera, ed. by Woodhouse, Adrian (Oxford: Phaidon, 1989).Google Scholar
McDonald, Russ, ‘Peggy of Anjou’, in Women Making Shakespeare, ed. by McMullan, Gordon, Orlin, Lena Cowen, and Vaughan, Virginia Mason (London: Arden, 2013), pp. 263–72.Google Scholar
McKay, Carol Hanbery, Creative Negativity: Four Victorian Exemplars of the Female Quest (Stanford University Press, 2001).Google Scholar
Moten, Fred, In the Break: The Aesthetics of the Black Radical Tradition (Minneapolis, MN: University of Minnesota Press, 2003).Google Scholar
Mulvey, Laura, Death 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006).Google Scholar
Neill, Michael, Issues of Death: Mortality and Identity in English Renaissance Tragedy (Oxford: Clarendon, 1998).Google Scholar
Nicoll, Allardyce, The Garrick Stage: Theatres and Audiences in the Eighteenth Century (Manchester University Press, 1980).Google Scholar
Odell, George C. D., Shakespeare: From Betterton to Irving, vol. 2 (London: Constable, 1963).Google Scholar
O’Neill, Stephen, Shakespeare and YouTube: New Media Forms of the Bard (London and New York: Bloomsbury, 2014).Google Scholar
Orgel, Stephen, Imagining Shakespeare: A History of Texts and Visions (Basingstoke: Palgrave Macmillan, 2003).Google Scholar
Parlin, Melissa J., ‘Refashioning Cordelia, Ophelia and Juliet: The Strength of Julia Margaret Cameron’s Suffering Women’, Selected Papers of the Ohio Valley Shakespeare Conference, ed. by Taft, Edmund M., vol. 2, ‘Working Shakespeares’ (2008), pp. 30–43. https://blogs.uakron.edu/ovsc/issues/volume-ii-2008/.Google Scholar
Peirce, Charles Sanders, Collected Writings, ed. by Hartshorne, Charles, Weiss, Paul, and Banks, Arthur W. (Cambridge, MA: Harvard University Press, 1931–58).Google Scholar
Peirce, Charles Sanders Peirce on Signs: Writings on Semiotic by Charles Sanders Peirce, ed. by Hoopes, James (Chapel Hill, NC: University of North Carolina Press, 1991).Google Scholar
Perni, Remedios, ‘At the Margins: Ophelia in Modern and Contemporary Photography’, in The Afterlife of Ophelia, ed. by Peterson, Kaara and Williams, Deanne (New York: Palgrave Macmillan, 2012), pp. 193–211.Google Scholar
Peterson, Kaara, ‘Framing Ophelia: Representation and the Pictorial Tradition’, Mosaic 31.3 (1998), 1–24.Google Scholar
Peterson, Kaara and Williams, Deanne (eds), The Afterlife of Ophelia (New York: Palgrave Macmillan, 2012).Google Scholar
Phelan, Peggy, ‘Francesca Woodman’s Photography: Death and the Image One More Time’, Signs 27.4 (2002), 979–1004.Google Scholar
Phelan, Peggy ‘Haunted Stages: Performance and the Photographic Effect’, in Haunted: Contemporary Photography/Video/Performance, ed. by Blessing, Jennifer and Trotman, Nat (New York and Bilbao: Guggenheim Museum, 2009), pp. 50–63.Google Scholar
Phelan, Peggy ‘Performance, Live Culture and Things of the Heart (in Conversation with Marquard Smith)’, Journal of Visual Culture 2.3 (2003), pp. 291–302.Google Scholar
Phelan, Peggy Unmarked: The Politics of Performance (London and New York: Routledge, 1993).Google Scholar
Plampin, Matthew, ‘Exhibiting the Avant-Garde: the Development of the Pre-Raphaelite “Brand”’, in Writing the Pre-Raphaelites: Text, Context, Subtext, ed. by Giebelhausen, Michaela and Barringer, Tim (Farnham and Burlington: Ashgate, 2009), pp. 193–214.Google Scholar
Poe, Edgar Allan, ‘The Philosophy of Composition’, in Edgar Allan Poe: Essays and Reviews, ed. by Thompson, G. R (New York: Library of America, 1984), pp. 13–25.Google Scholar
Postlewait, Thomas, ‘Historiography and the Theatrical Event: A Primer with Twelve Cruxes’, Theatre Journal 43.2 (1991), 157–78.Google Scholar
Powell, Tristram (ed.), Julia Margaret Cameron (Lives of Artists) (London: Pallas Athene Arts, 2016).Google Scholar
Prettejohn, Elizabeth, The Art of the Pre-Raphaelites (London: Tate Publishing, 2000).Google Scholar
Prosser, Jay, Light in the Dark Room: Photography and Loss (Minneapolis, MN: University of Minnesota Press, 2005).Google Scholar
Rancière, Jacques, The Future of the Image, trans. by Elliott, Gregory (London and New York: Verso, 2007).Google Scholar
Reason, Matthew, Documentation, Disappearance and the Representation of Live Performance (Basingstoke: Palgrave Macmillan, 2006).Google Scholar
Reinhardt, Paul, ‘The Costume Designs of James Robinson Planché’, Educational Theatre Journal 20.4 (11968), 524–44.Google Scholar
Relihan, Constance, ‘Community, Narrativity, and Empowerment in Julia Margaret Cameron’s Photographic Reading of Shakespeare’, The Upstart Crow 12 (1992), 41–52.Google Scholar
Rhodes, Kimberly, ‘Double Take: Tom Hunter’s The Way Home’, in The Afterlife of Ophelia, ed. by Peterson, Kaara and Williams, Deanne (New York: Palgrave Macmillan, 2012), pp. 213–29.Google Scholar
Rhodes, Kimberly Ophelia and Victorian Visual Culture: Representing Body Politics in the Nineteenth Century (Aldershot: Ashgate, 2008).Google Scholar
Roach, Joseph, Cities of the Dead: Circum-Atlantic Performance (New York: Columbia University Press, 1996).Google Scholar
Rooks, Amanda Kane, ‘The “New” Ophelia in Michael Almereyda’s Hamlet’, Literature/Film Quarterly 42.2 (2014), 475–85.Google Scholar
Rouillé, André, La photographie: Entre document et art contemporain (Paris: Gallimard, 2003).Google Scholar
Rowe, Katherine, ‘“Remember Me”’: Technologies of Memory in Michael Almereyda’s Hamlet’, in Shakespeare, the Movie II: Popularising the Plays on Film, TV, Video and DVD, ed. by Burt, Richard and Boose, Lynda E. (London and New York: Routledge, 2003), pp. 37–55.Google Scholar
Ruby, Jay, Secure the Shadow: Death and Photography in America (Cambridge, MA: The MIT Press, 1995).Google Scholar
Rutter, Carol Chillington, Enter the Body: Women and Representation on Shakespeare’s Stage (London and New York: Routledge, 2001).Google Scholar
Saliot, Anne-Gaëlle, The Drowned Muse: Casting the Unknown Woman of the Seine Across the Tides of Modernity (Oxford University Press, 2015).Google Scholar
Savedoff, Barbara E., Transforming Images: How Photography Complicates the Picture (Ithaca, NY: Cornell University Press, 2000).Google Scholar
Schechner, Richard, ‘TDR Comment: A Critical Examination of Kirby’s Criticism of Criticism’, TDR: The Drama Review 18.4 (1974), 116–118.Google Scholar
Schmidt-Haberkamp, Barbara, ‘The Writing-Back Paradigm Revisited: Peter Carey, Jack Maggs, and Charles Dickens, Great Expectations’, in Cross/Cultures: Fabulating Beauty: Perspectives of Peter Carey, ed. by Gaile, Andreas (Amsterdam: Rodopi, 2005).Google Scholar
Schneider, Rebecca, The Explicit Body in Performance (London and New York: Routledge, 1997).Google Scholar
Schneider, Rebecca Performing Remains: Art and War in Times of Theatrical Re-Enactment (London and New York: Routledge, 2011).Google Scholar
Schoch, Richard, Shakespeare’s Victorian Stage: Performing History in the Theatre of Charles Kean (Cambridge University Press, 1998).Google Scholar
Schwartz, Elias, ‘Stylistic “Impurity” and the Meaning of Othello’, Studies in English Literature, 1500–1900 10.2 (1970), 297–313.Google Scholar
Scolnicov, Hanna, ‘Gertrude’s Willow Speech: Word and Film Image’, Literature and Film Quarterly 28.2 (2000), 101–11.Google Scholar
Sekula, Allan, ‘The Traffic in Photographs’, in Photography against the Grain: Essays and Photo Works, 1973–1983 (Halifax: Nova Scotia College of Art and Design, 1984), pp. 77–101.Google Scholar
Shakespeare, William, Bell’s Edition of Shakespeare’s Plays, as they are now Performed at the Theatres Royal in London, Regulated from the Prompt Books of each House by Permission; with Notes Critical and Illustrative, vol. 3 (London: John Bell, 1773).Google Scholar
Shakespeare, William King Richard II, ed. by Forker, Charles R. (London: Bloomsbury, 2002).Google Scholar
Shakespeare, William The Norton Shakespeare, ed. by Greenblatt, Stephen, Cohen, Walter, Gossett, Suzanne, Howard, Jean E., Eisaman Maus, Katharine, and McMullan, Gordon, 3rd edn (New York and London: W. W. Norton & Co., 2016).Google Scholar
Shaw, George Bernard, ‘In a Lighter Vein: Bernard Shaw on Photography’, Wilson’s Photographic Magazine 46 (1909), 568.Google Scholar
Shawcross, Nancy, Roland Barthes on Photography: The Critical Tradition in Perspective (Gainesville, FL: University of Florida Press, 1997).Google Scholar
Showalter, Elaine, ‘Representing Ophelia: Women, Madness and the Responsibilities of Feminist Criticism’, in Shakespeare and the Question of Theory, ed. by Hartman, Geoffrey H. and Parker, Patricia (London and New York: Methuen, 1985), pp. 77–94.Google Scholar
Sillars, Stuart, The Illustrated Shakespeare, 1709–1875 (Cambridge University Press, 2008).Google Scholar
Sillars, Stuart ‘A Midsummer Night’s Dream in Illustrated Editions, 1838–1918’, Shakespeare Survey 65 (December 2012), pp. 92–109.Google Scholar
Sillars, Stuart Painting Shakespeare: The Artist as Critic, 1720–1820 (Cambridge University Press, 2006).Google Scholar
Sillars, Stuart Shakespeare, Time and the Victorians: A Pictorial Exploration (Cambridge University Press, 2012).Google Scholar
Sillars, Stuart Shakespeare and the Visual Imagination (Cambridge University Press, 2015).Google Scholar
Silverstone, Catherine. ‘Shakespeare Live: Reproducing Shakespeare at the “New” Globe Theatre’, Textual Practice 19.1 (2005), 31–50.Google Scholar
Silverstone, Catherine Shakespeare, Trauma and Contemporary Performance (New York and Abingdon: Routledge, 2011).Google Scholar
Sinfield, Alan, ‘Royal Shakespeare: Theatre and the Making of Ideology’, in Political Shakespeare: Essays in Cultural Materialism, ed. by Sinfield, Alan and Dollimore, Jonathan (Manchester University Press, 1985), pp. 182–206.Google Scholar
Slater, Don, ‘Photography and Modern Vision: The Spectacle of “Natural Magic”’, in Visual Culture, ed. by Jenks, Chris (London: Routledge, 1995), pp. 218–37.Google Scholar
Smith, Lindsay The Politics of Focus: Women, Children and Nineteenth-Century Photography (Manchester University Press, 1998).Google Scholar
Sofer, Andrew, ‘The Skull on the Renaissance Stage: Imagination and the Erotic Life of Props’, ELR 28 (1998), 47–74.Google Scholar
Sontag, Susan, ‘The Image World’, in Visual Culture: The Reader, ed. by Evans, Jessica and Hall, Stuart (London: SAGE Publications, 1999), pp. 80–94.Google Scholar
Speaight, Robert, Shakespeare on the Stage: An Illustrated History of Shakespearean Performance (Boston, MA: Little, Brown and Co., 1973).Google Scholar
Spinrad, Phoebe, ‘Memento Mockery: Some Skulls on the Renaissance Stage’, Explorations in Renaissance Culture 10 (1984), 1–11.Google Scholar
St Clare, Byrne, Muriel, ‘Photographs of Theatrical Productions 1: History and Publicity’, Theatre Notebook 1 (1945), 104–7.Google Scholar
St Clare, Byrne, Muriel ‘Photographs of Theatrical Productions 2: Value and Accessibility’, Theatre Notebook 2 (1946), 34–6.Google Scholar
St Clare, Byrne, Muriel ‘Shakespeare at Stratford-upon-Avon, 1959’, Shakespeare Quarterly 10 (1959), 554–6.Google Scholar
Talbot, William Fox, Henry, The Pencil of Nature (London: Longman, Brown, Green and Longmans, 1844).Google Scholar
Tagg, John, The Burden of Representation: Essays on Photographies and Histories, (London: Macmillan, 1988).Google Scholar
Taylor, Diana, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, NC: Duke University Press, 2003).Google Scholar
Traubner, Richard, ‘Angus McBean’, in The Photographs of Angus McBean: From the Stage to the Surreal: Photographs from the Harvard Theatre Collection (London: Thames and Hudson, 2009), pp. ix–xv.Google Scholar
Vanhaesebrouck, Karel, ‘Theatre, Performance Studies and Photography: a History of Permanent Contamination’, Visual Studies 24.2 (2009), 97–106.Google Scholar
Villeneuve, Rodrigue, ‘Photography of Theatre: Images Always Fail’, trans. by Aronoff, Phyllis and Scott, Howard, Canadian Theatre Review 64 (1990), 32–7.Google Scholar
Warner, Malcolm, ‘Millais in Reproduction’, inWriting the Pre-Raphaelites: Text, Context, Subtext, ed. by Giebelhausen, Michaela and Barringer, Tim (Farnham and Burlington, VT: Ashgate, 2009), pp. 215–39.Google Scholar
Watson, Nicola J., ‘Sir Walter Scott’, in Scott, Dickens, Eliot, Hardy: Great Shakespeareans Volume V, ed. by Poole, Adrian (London and New York: Continuum, 2011), pp. 10–52.Google Scholar
Weaver, Mike, Julia Margaret Cameron, 1815–1879 (London: The Herbert Press and John Hansard Gallery, 1984).Google Scholar
Weber, Samuel, Mass Mediauras: Form, Technics, Media (Stanford University Press, 1996).Google Scholar
Wells, Stanley, ‘Foreword’ to Shakespeare, Memory and Performance, ed. by Holland, Peter (Cambridge University Press, 2006), pp. xvii–xx.Google Scholar
Williams, Gary Jay, Our Moonlight Revels: A Midsummer Night’s Dream in the Theatre (Iowa City, IA: University of Iowa Press, 1997).Google Scholar
Williams, Nora J., ‘@Shakespeare and @TwasFletcher: Performances of Authority’, Humanities 8.46 (2019), 1–16.Google Scholar
Wood, R. Derek, ‘J. B. Reade, F. R. S., and the Early History of Photography. Part II: Gallic Acid and Talbot’s Calotype Patent’, Annals of Science 27.1 (1971), 47–83.Google Scholar
Woodhouse, Adrian Masters Photography: Angus McBean (London and Sydney: MacDonald, 1985).Google Scholar
Worthen, W. B., Shakespeare and the Authority of Performance (Cambridge University Press, 1997).Google Scholar
Young, Alan R., ‘Eighteenth- and Nineteenth-Century Visual Representations of the Graveyard Scene in Hamlet’, in Stage Directions in ‘Hamlet’: New Essays and New Directions, ed. by Aasand, Hardin L. (Cranbury, London and Mississauga: Associated University Presses, 2003), pp. 189–213.Google Scholar
Young, Alan R. Hamlet and the Visual Arts, 1709–1900 (Newark, DE: University of Delaware Press, 2002).Google Scholar