<span class='italic'>King Lear</span> on Screen: Select Film-bibliography

doi:10.1017/9781108589727.015

Chapter 15 - King Lear on Screen: Select Film-bibliography

from Part IV - Lear on the Loose: Migrations and Appropriations of Lear

Published online by Cambridge University Press: 10 September 2019

José Ramón Díaz Fernández

Edited by

Victoria Bladen ,

Sarah Hatchuel and

Nathalie Vienne-Guerrin

Show author details

Victoria Bladen: Affiliation:
University of Queensland
Sarah Hatchuel: Affiliation:
Université Paul Valéry, Montpellier
Nathalie Vienne-Guerrin: Affiliation:
Université Paul Valéry, Montpellier

Book contents

Get access

Summary

The present chapter seeks to provide a selective reference guide to the screen adaptations of King Lear. This essay is divided into three sections listing films, television adaptations as well as derivatives and selected citations. In each section, adaptations are classified in chronological order followed by an alphabetical list of relevant critical studies, and a system of cross-references has been designed for those entries making reference to two or more screen adaptations. I have included theatrical productions such as Richard Eyre’s King Lear (1998) in the television section if there are significant changes between the original stage design and the television programme, and in these cases I have only selected studies making specific reference to the recorded version. As far as the derivatives and citations are concerned, I have only listed those which have been discussed by critics.

Type: Chapter
Information: Shakespeare on Screen: King Lear , pp. 227 - 247

DOI: https://doi.org/10.1017/9781108589727.015 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Ball, Robert Hamilton, ‘What, All in Motion? Shakespeare by Vitagraph (1908–1911)’, in his Shakespeare on Silent Film: a Strange Eventful History. New York: Theatre Arts Books, 1968, 38–60.Google Scholar

Buchanan, Judith, ‘“An Excellent Dumb Discourse”: British and American Shakespeare Films, 1899–1916’, in her Shakespeare on Film. Harlow: Pearson Longman, 2005, 21–48.Google Scholar

Buchanan, Judith, ‘Corporate Authorship: the Shakespeare Films of the Vitagraph Company of America’, in her Shakespeare on Silent Film: an Excellent Dumb Discourse. Cambridge: Cambridge University Press, 2009, 105–46.Google Scholar

Babiak, Peter E. S., ‘Silent Shakespeare’, in his Shakespeare Films: a Re-evaluation of 100 Years of Adaptations. Jefferson: McFarland, 2016, 25–38.Google Scholar

Ball, Robert Hamilton, ‘Strange Motions: the Continent (1908–1911)’, in his Shakespeare on Silent Film: a Strange Eventful History. New York: Theatre Arts Books, 1968, 90–134.Google Scholar

Coursen, H. R., ‘Silents’, in his Shakespeare in Space: Recent Shakespeare Productions on Screen. New York: Peter Lang, 2002, 95–111.Google Scholar

Rothwell, Kenneth S., ‘In Search of Nothing: Mapping King Lear’, in Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video, ed. Boose, Lynda E. and Burt, Richard. London and New York: Routledge, 1997, 135–47.Google Scholar

Ball, Robert Hamilton, ‘These Visions Did Appear: During the War’, in his Shakespeare on Silent Film: a Strange Eventful History. New York: Theatre Arts Books, 1968, 216–62.Google Scholar

Guneratne, Anthony R., ‘Featuring the Bard: Frederick Warde’s Shakespeare and the Transformation of American Cinema’, in his Shakespeare, Film Studies, and the Visual Cultures of Modernity. New York and Basingstoke: Palgrave Macmillan, 2008, 95–113.Google Scholar

Rothwell, Kenneth S., ‘Representing King Lear on Screen: from Metatheatre to “Meta-Cinema”’, in Shakespeare and the Moving Image: the Plays on Film and Television, ed. Davies, Anthony and Wells, Stanley. Cambridge: Cambridge University Press, 1994, 211–33.Google Scholar

Aebischer, Pascale, ‘En-gendering Violence and Suffering in King Lear’, in her Shakespeare’s Violated Bodies: Stage and Screen Performance. Cambridge: Cambridge University Press, 2004, 151–89.Google Scholar

Ashby, Richard, ‘Crowding out Dover “Cliff” in Korol Lir’. Adaptation 10 (2017): 210–29.Google Scholar

Babiak, Peter E. S., ‘Kozintsev’, in his Shakespeare Films: a Re-evaluation of 100 Years of Adaptations. Jefferson: McFarland, 2016, 84–98.Google Scholar

Baker, Christopher, ‘Religion in Performance’, in his Religion in the Age of Shakespeare. Westport and London: Greenwood, 2007, 95–126.Google Scholar

Buchman, Lorne M., ‘Spatial Multiplicity: Patterns of Viewing in Cinematic Space’, in his Still in Movement: Shakespeare on Screen. New York and Oxford: Oxford University Press, 1991, 12–32.Google Scholar

Buchman, Lorne M., ‘Inside-Out: Dynamics of Mise-en-scène’, in his Still in Movement: Shakespeare on Screen. New York and Oxford: Oxford University Press, 1991, 33–51.Google Scholar

Buchman, Lorne M., ‘Houseless Heads: the Storm of King Lear in the Films of Peter Brook and Grigory Kozintsev’, in his Still in Movement: Shakespeare on Screen. New York and Oxford: Oxford University Press, 1991, 52–63.Google Scholar

Buchman, Lorne M., ‘Temporal Multiplicity: Patterns of Viewing in Cinematic Time’, in his Still in Movement: Shakespeare on Screen. New York and Oxford: Oxford University Press, 1991, 107–25.Google Scholar

Buhler, Stephen M., ‘Gaining in Translation’, in his Shakespeare in the Cinema: Ocular Proof. Albany: State University of New York Press, 2002, 157–78.Google Scholar

Catania, Saviour, ‘“Darkness Rumbling”: Kozintsev’s Karòl Lier and the Visual Acoustics of Nothing’. Literature/Film Quarterly 36 (2008): 85–93.Google Scholar

Collick, John, ‘Kozintsev’s Hamlet and Korol Ler’, in his Shakespeare, Cinema and Society. Manchester and New York: Manchester University Press, 1989, 128–48.Google Scholar

Coursen, H. R., ‘Lear and Cordelia’, in his Shakespearean Performance as Interpretation. Newark: University of Delaware Press, 1992, 129–39.Google Scholar

Davies, Anthony, ‘King Lear on Film’, in ‘Lear’ from Study to Stage: Essays in Criticism, ed. Ogden, James and Scouten, Arthur H.. Madison: Fairleigh Dickinson University Press, 1997, 247–66.Google Scholar

Dombrovskaia, Olga, ‘Hamlet, King Lear and Their Companions: the Other Side of Film Music’, in Contemplating Shostakovich: Life, Music and Film, ed. Ivashkin, Alexander and Kirkman, Andrew. Farnham and Burlington: Ashgate, 2012, 141–64.Google Scholar

Etkind, Alexander, ‘Mourning the Soviet Victims in a Cosmopolitan Way: Hamlet from Kozintsev to Riazanov’. Studies in Russian & Soviet Cinema 5 (2011): 389–409.Google Scholar

Gillespie, David, ‘Adapting Foreign Classics: Kozintsev’s Shakespeare’, in Russian and Soviet Film Adaptations of Literature, 1900–2001: Screening the Word, ed. Hutchings, Stephen and Vernitski, Anat. London and New York: RoutledgeCurzon-Taylor and Francis, 2005, 75–88.Google Scholar

Griggs, Yvonne, ‘On the Road: Reclaiming Grigori Kozinstev’s Korol Lir (1970)’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 62–79.Google Scholar

Gronsky, Daniel, ‘Shakespeare in Translation’. Film International 11 (2004): 44–51.Google Scholar

Guntner, J. Lawrence, ‘Hamlet, Macbeth and King Lear on Film’, in The Cambridge Companion to Shakespeare on Film, ed. Jackson, Russell. 2nd edn. Cambridge: Cambridge University Press, 2007, 120–40.Google Scholar

Halio, Jay L., ‘The Play in Performance’, in his ‘King Lear’: a Guide to the Play. Westport and London: Greenwood Press, 2001, 95–115.Google Scholar

Hodgdon, Barbara, ‘Kozintsev’s King Lear: Filming a Tragic Poem’. Literature/Film Quarterly 5 (1977): 291–8.Google Scholar

Hodgdon, Barbara, ‘Two King Lears: Uncovering the Filmtext’. Literature/Film Quarterly 11 (1983): 143–51.Google Scholar

Holland, Peter, ‘Two-Dimensional Shakespeare: King Lear on Film’, in Shakespeare and the Moving Image: the Plays on Film and Television, ed. Davies, Anthony and Wells, Stanley. Cambridge: Cambridge University Press, 1994, 50–68.Google Scholar

Jackson, MacDonald P., ‘Screening the Tragedies: King Lear’, in The Oxford Handbook of Shakespearean Tragedy, ed. Neill, Michael and Schalkwyk, David. Oxford: Oxford University Press, 2016, 607–23.Google Scholar

Jorgens, Jack J., ‘King Lear: Peter Brook and Grigori Kozintsev’, in his Shakespeare on Film. 1977, rpt. Lanham and London: University Press of America, 1991, 235–51.Google Scholar

Keyishian, Harry, ‘Performing Violence in King Lear: Edgar’s Encounters in 4.6 and 5.3’. Shakespeare Bulletin 14.3 (Summer 1996): 36–8.Google Scholar

Kozintsev, Grigori, ‘Hamlet and King Lear: Stage and Film’, in Shakespeare 1971: Proceedings of the World Shakespeare Congress, ed. Leech, Clifford and Margeson, J. M. R.. Toronto and Buffalo: University of Toronto Press, 1972, 190–9.Google Scholar

Kozintsev, Grigori, ‘King Lear’: the Space of Tragedy: the Diary of a Film Director. Trans. Mary Mackintosh. Berkeley: University of California Press, 1977.Google Scholar

Leaming, Barbara, ‘King Lear’, in her Grigori Kozintsev. Boston: Twayne, 1980, 119–35.Google Scholar

Leggatt, Alexander, ‘Grigori Kozintsev’, in his King Lear. 2nd edn. Manchester and New York: Manchester University Press, 2004, 88–104.Google Scholar

Lehmann, Courtney, ‘Grigori Kozintsev’, in Welles, Kurosawa, Kozintsev, Zeffirelli, by Thornton Burnett, Mark, Lehmann, Courtney, Rippy, Marguerite H. and Wray, Ramona. London and New York: Bloomsbury, 2013, 92–140.Google Scholar

Leonard, Kendra Preston, ‘King Lear’, in her Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations. Lanham: Scarecrow Press, 2009, 97–115.Google Scholar

Leonard, Kendra Preston, ‘Edgar’, in her Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations. Lanham: Scarecrow Press, 2009, 117–26.Google Scholar

Margolies, David, ‘King Lear: Kozinstev’s Social Translation’, in Shifting the Scene: Shakespeare in European Culture, ed. Bezzola Lambert, Ladina and Engler, Balz. Newark: University of Delaware Press, 2004, 230–8.Google Scholar

Moore, Tiffany Conroy, Ann, ‘King Lear Revisited in the Brezhnev Era: Kozintsev’s 1970 Film Adaptation’, in her Kozintsev’s Shakespeare Films: Russian Political Protest in ‘Hamlet’ and ‘King Lear’. Jefferson and London: McFarland, 2012, 136–77.Google Scholar

Parker, R. B., ‘The Use of Mise-en-Scène in Three Films of King Lear’. Shakespeare Quarterly 42 (1991): 75–90.Google Scholar

Radcliff-Umstead, Douglas, ‘Order and Disorder in Kozintsev’s King Lear’. Literature/Film Quarterly 11 (1983): 266–73.Google Scholar

Riley, John, ‘Endgame (1964–1975): Hamlet to King Lear’, in his Dmitri Shostakovich: a Life in Film. London and New York: I. B. Tauris, 2005, 94–107.Google Scholar

Rothwell, Kenneth S., ‘Other Shakespeares: Translation and Expropriation’, in his A History of Shakespeare on Screen: a Century of Film and Television. 2nd edn. Cambridge: Cambridge University Press, 2004, 160–91.Google Scholar

Rothwell, Kenneth S., ‘King Lear’. Cineaste 32.3 (Summer 2007): 80–2.Google Scholar

Ryle, Simon, ‘Something from Nothing: King Lear and Film Space’, in his Shakespeare, Cinema and Desire: Adaptation and Other Futures of Shakespeare’s Language. New York and Basingstoke: Palgrave Macmillan, 2014, 36–84.Google Scholar

Sanders, Julie, ‘Symphonic Film Scores’, in her Shakespeare and Music: Afterlives and Borrowings. Cambridge and Malden: Polity Press, 2007, 135–58.Google Scholar

Schmalz, Wayne, ‘Pictorial Imagery in Kozintsev’s King Lear’. Literature/Film Quarterly 13 (1985): 85–94.Google Scholar

Sokolyansky, Mark, ‘Grigori Kozintsev’s Hamlet and King Lear’, in The Cambridge Companion to Shakespeare on Film, ed. Jackson, Russell. 2nd edn. Cambridge: Cambridge University Press, 2007, 203–15.Google Scholar

Thomas, Alfred, ‘“A Dog’s Obeyed in Office”: Subverting Authority in Shakespeare’s King Lear and Grigori Kozintsev’s Korol’ Lir’, in his Shakespeare, Dissent, and the Cold War. Basingstoke and New York: Palgrave Macmillan, 2014, 97–140.Google Scholar

Troncale, Joseph, ‘The War and Kozintsev’s Films Hamlet and King Lear’, in The Red Screen: Politics, Society, Art in Soviet Cinema, ed. Lawton, Anna. London and New York: Routledge, 1992, 193–210.Google Scholar

Welsh, James M., ‘To See It Feelingly: King Lear through Russian Eyes’. Literature/Film Quarterly 4 (1976): 153–8.Google Scholar

Willson, Robert F., Jr, ‘Lear and Dispossession: the Peopled Space of Kozintsev’s King Lear’. Shakespeare Bulletin 6.3 (May/June 1988): 20–2.Google Scholar

Willson, Robert F., Jr, ‘Yuri Yarvet’s Lear: the Face of Tragedy’, in Images of Shakespeare: Proceedings of the Third Congress of the International Shakespeare Association, 1986, ed. Habicht, Werner, Palmer, D. J. and Pringle, Roger. Newark: University of Delaware Press, 1988, 251–7.Google Scholar

Womack, Kenneth, ‘Assessing the Rhetoric of Performance Criticism in Three Variant Soviet Texts of King Lear’. Yearbook of Comparative and General Literature 41 (1993): 149–59.Google Scholar

Wood, Michael, ‘The Languages of Cinema’, in Nation, Language, and the Ethics of Translation, ed. Bermann, Sandra and Wood, Michael. Princeton and Oxford: Princeton University Press, 2005, 79–88.Google Scholar

Yutkevitch, Sergei, ‘The Conscience of the King: Kozintsev’s King Lear’. Sight and Sound 40 (1970–1971): 192–6.Google Scholar

Acker, Paul, ‘Conventions for Dialogue in Peter Brook’s King Lear’. Literature/Film Quarterly 8 (1980): 219–24.Google Scholar

Babiak, Peter E. S., ‘Or Image of That Horror: the Apocalyptic Visions of Peter Brook and Akira Kurosawa’, in The Silk Road of Adaptation: Transformations across Disciplines and Cultures, ed. Raw, Laurence. Newcastle: Cambridge Scholars Publishing, 2013, 122–31.Google Scholar

Babiak, Peter E. S., ‘Kott, Brook, Richardson and Polanski’, in his Shakespeare Films: a Re-evaluation of 100 Years of Adaptations. Jefferson: McFarland, 2016, 114–23.Google Scholar

Berlin, Normand, ‘Peter Brook’s Interpretation of King Lear: “Nothing Will Come of Nothing”’. Literature/Film Quarterly 5 (1977): 299–303.Google Scholar

Brook, Peter, ‘Filming King Lear’, in his The Shifting Point: Theatre, Film, Opera 1946–1987. New York: Harper & Row, 1987, 203–6.Google Scholar

Buchman, Lorne M., ‘Local Habitations: the Dialectics of Filmic and Theatrical Space’, in his Still in Movement: Shakespeare on Screen. New York and Oxford: Oxford University Press, 1991, 84–106.Google Scholar

Buhler, Stephen, ‘Transgressive, in Theory’, in his Shakespeare in the Cinema: Ocular Proof. Albany: State University of New York Press, 2002, 125–56.Google Scholar

Cartmell, Deborah, ‘Shakespeare, Film and Violence: Doing Violence to Shakespeare’, in her Interpreting Shakespeare on Screen. Basingstoke: Macmillan, 2000, 1–20.Google Scholar

Chaplin, William, ‘Our Darker Purpose: Peter Brook’s King Lear’. Arion ns 1 (1973): 168–87.Google Scholar

Davies, Anthony, ‘Peter Brook’s King Lear and Akira Kurosawa’s Throne of Blood’, in his Filming Shakespeare’s Plays: the Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa. Cambridge: Cambridge University Press, 1988, 143–66.Google Scholar

Egan, Gabriel, ‘Showing versus Telling: Shakespeare’s Ekphraseis, Visual Absences, and the Cinema’, in Talking Shakespeare: Shakespeare into the Millennium, ed. Cartmell, Deborah and Scott, Michael. Basingstoke and New York: Palgrave, 2001, 168–86.Google Scholar

Eidsvik, Charles, ‘King Lear and the Theater of Cruelty’, in his Cineliteracy: Film among the Arts. New York: Random House, 1978, 257–62.Google Scholar

Gilman, Todd S., ‘The Textual Fabric of Peter Brook’s King Lear: “Holes” in Cinema, Screenplay, and Playtext’. Literature/Film Quarterly 20 (1992): 294–300.Google Scholar

Griggs, Yvonne, ‘Peter Brook’s King Lear (1971): “A Hollywood Showman’s Nightmare?”’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 41–62.Google Scholar

Harris, Laurilyn J., ‘Peter Brook’s King Lear: Aesthetic Achievement or Far Side of the Moon?’ Theatre Research International 11 (1986): 223–39.Google Scholar

Holland, Peter, ‘Peter Brook’, in Brook, Hall, Ninagawa, Lepage, ed. Peter, Holland. London and New York: Bloomsbury, 2013, 7–46.Google Scholar

Jackson, Russell, ‘People’, in his Shakespeare and the English-speaking Cinema. Oxford: Oxford University Press, 2014, 36–63.Google Scholar

Johnson, William, [Untitled.] Film Quarterly 25.3 (Spring 1972): 41–8.Google Scholar

Leggatt, Alexander, ‘Peter Brook’, in his King Lear. 2nd edn. Manchester and New York: Manchester University Press, 2004, 105–17.Google Scholar

Mullin, Michael, ‘Peter Brook’s King Lear: Stage and Screen’. Literature/Film Quarterly 11 (1983): 190–6.Google Scholar

Mullin, Michael, ‘Peter Brook’s King Lear: a Reassessment’, in Screen Shakespeare, ed. Skovmand, Michael. Aarhus: Aarhus University Press, 1994, 54–63.Google Scholar

Reddington, John, ‘Film, Play and Idea’. Literature/Film Quarterly 1 (1973): 367–71.Google Scholar

Rothwell, Kenneth S., ‘Classic Film Versions of Shakespeare’s Tragedies: a Mirror for the Times’, in A Companion to Shakespeare’s Works, vol. 1: The Tragedies, ed. Dutton, Richard and Howard, Jean E.. Malden and Oxford: Blackwell, 2003, 241–61.Google Scholar

Rothwell, Kenneth S., ‘Shakespeare Movies in the Age of Angst’, in his A History of Shakespeare on Screen: a Century of Film and Television. 2nd edn. Cambridge: Cambridge University Press, 2004, 136–59.Google Scholar

Rozett, Martha Tuck, ‘The Peter Brook-Paul Scofield King Lear: Revisiting the Film Version’. Shakespeare Bulletin 19.1 (Winter 2001): 40–2.Google Scholar

Rutter, Carol Chillington, ‘Body Parts or Parts for Bodies: Speculating on Cordelia’, in her Enter the Body: Women and Representation on Shakespeare’s Stage. London and New York: Routledge, 2001, 1–26.Google Scholar

Saunders, John, ‘“The promis’d end? or image of that horror?”: Two Different Ways of Looking at the Ending of King Lear’, in Critical Essays on ‘King Lear’, ed. Linda, Cookson. Harlow: Longman, 1988, 120–9.Google Scholar

Saunders, J. G., ‘“Apparent Perversities”: Text and Subtext in the Construction of the Role of Edgar in Brook’s Film of King Lear’. Review of English Studies ns 47.187 (1996): 317–30.Google Scholar

‘Shakespeare in the Cinema: a Film Directors’ Symposium with Peter Brook, Sir Peter Hall, Richard Loncraine, Baz Luhrmann, [Trevor Nunn,] Oliver Parker, Roman Polanski and Franco Zeffirelli’. Cineaste 24.1 (1998): 48–55.Google Scholar

Shaw, William P., ‘Violence and Vision in Polanski’s Macbeth and Brook’s Lear’. Literature/Film Quarterly 14 (1986): 211–13.Google Scholar

Teller, Joseph R., ‘The (Dis)possession of Lear’s Two Bodies: Madness, Demystification, and Domestic Space in Peter Brook’s King Lear’. Borrowers and Lenders: the Journal of Shakespeare and Appropriation 5.1 (Spring/Summer 2010): www.borrowers.uga.edu/782421/show (accessed 17 May 2019).Google Scholar

Viguers, Susan, ‘Costuming as Interpretation: the Elliott/Olivier and the Brook/Scofield King Lear’. Shakespeare Bulletin 12.2 (Spring 1994): 44–6.Google Scholar

Wilds, Lillian, ‘One King Lear for Our Time: a Bleak Film Version by Peter Brook’. Literature/Film Quarterly 4 (1976): 159–64.Google Scholar

Babiak, Peter E. S., ‘Kurosawa’, in his Shakespeare Films: a Re-evaluation of 100 Years of Adaptations. Jefferson: McFarland, 2016, 69–83.Google Scholar

Baker, Rob, ‘Fools on a Precipice’. Parabola: The Magazine of Myth and Tradition 11.4 (Nov. 1986): 90–5, 98.Google Scholar

Bannon, Christopher J., ‘Man and Nature in Ran and King Lear’. New Orleans Review 18.4 (Winter 1991): 5–11.Google Scholar

Brown, Eric C., ‘Akira Kurosawa’. Shakespeare Bulletin 34 (2016): 496–9.Google Scholar

Buchanan, Judith, ‘Cross-cultural Narrative Rhymes: the Shakespeare Films of Akira Kurosawa’, in her Shakespeare on Film. Harlow: Pearson Longman, 2005, 71–89.Google Scholar

Burnett, Mark Thornton, ‘Akira Kurosawa’, in Welles, Kurosawa, Kozintsev, Zeffirelli, by Thornton Burnett, Mark, Lehmann, Courtney, Rippy, Marguerite H. and Wray, Ramona. London and New York: Bloomsbury, 2013, 54–91.Google Scholar

Catania, Saviour, ‘Wailing Woodwind Wild: the Noh Transcription of Shakespeare’s Silent Sounds in Kurosawa’s Ran’. Literature/Film Quarterly 34 (2006): 85–92.Google Scholar

Collick, John, ‘Kurosawa’s Kumonosu jo and Ran’, in his Shakespeare, Cinema and Society. Manchester and New York: Manchester University Press, 1989, 166–87.Google Scholar

Conrad, Peter, ‘Expatriating Lear’, in his To Be Continued: Four Stories and Their Survival. Oxford: Clarendon Press, 1995, 95–152.Google Scholar

Cowie, Peter, ‘The Literary Connection’, in his Akira Kurosawa: Master of Cinema. New York: Rizzoli, 2010, 186–231.Google Scholar

Crowl, Samuel, ‘The Bow Is Bent and Drawn: Kurosawa’s Ran and the Shakespearean Arrow of Desire’. Literature/Film Quarterly 22 (1994): 109–16.Google Scholar

Davis, Darrell William, ‘Other Manifestations of the Monumental Style’, in his Picturing Japaneseness: Monumental Style, National Identity, Japanese Film. New York: Columbia University Press, 1996, 219–49.Google Scholar

Dawson, Anthony, ‘Reading Kurosawa Reading Shakespeare’, in A Concise Companion to Shakespeare on Screen, ed. Diana, E. Henderson. Malden and Oxford: Blackwell, 2006, 155–75.Google Scholar

Diniz, Thaïs Nogueira, Flores, ‘King Lear’s Filmic Adaptation: a Chaos?’ Canadian Review of Comparative Literature/Revue Canadienne de Littérature Comparée 23 (1996): 775–80.Google Scholar

Dodson-Robinson, Eric, ‘Karma, Revenge, Apocalypse: Ran’s Violent Victim-Agent through Japanese and Western Contexts’. Shakespeare Bulletin 31 (2013): 233–55.Google Scholar

Geist, Kathe, ‘Late Kurosawa: Kagemusha and Ran’. Post Script: Essays in Film and the Humanities 12.1 (Fall 1992): 26–36.Google Scholar

Goodwin, James, ‘Tragedy without Heroes’, in his Akira Kurosawa and Intertextual Cinema. Baltimore and London: Johns Hopkins University Press, 1994, 165–216.Google Scholar

Griggs, Yvonne, ‘Chaos on the Western Frontier: Akira Kurosawa’s Ran (1985)’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 79–99.Google Scholar

Grilli, Peter, ‘Kurosawa Directs a Cinematic Lear’, in Akira Kurosawa: Interviews, ed. Cardullo, Bert. Jackson: University Press of Mississippi, 2008, 125–30.Google Scholar

Hapgood, Robert, ‘Ran from Screenplay to Film’. Shakespeare Bulletin 10.3 (Summer 1992): 37–8.Google Scholar

Hapgood, Robert, ‘Kurosawa’s Shakespeare Films: Throne of Blood, The Bad Sleep Well, and Ran’, in Shakespeare and the Moving Image: the Plays on Film and Television, ed. Davies, Anthony and Wells, Stanley. Cambridge: Cambridge University Press, 1994, 234–49.Google Scholar

Hirano, Kyoko, ‘The Director, Kurosawa: the Emperor of Japanese Cinema on Designing Ran’. Theatre Crafts 20.2 (Feb. 1986): 88–93.Google Scholar

Hirano, Kyoko, ‘Making Films for All the People: an Interview with Akira Kurosawa’, in Akira Kurosawa: Interviews, ed. Cardullo, Bert. Jackson: University Press of Mississippi, 2008, 139–44.Google Scholar

Hoile, Christopher, ‘King Lear and Kurosawa’s Ran: Splitting, Doubling, Distancing’. Pacific Coast Philology 22 (1987): 29–34.Google Scholar

Howlett, Kathy, ‘Breaking the Frame: Akira Kurosawa’s Ran’, in her Framing Shakespeare on Film. Athens: Ohio University Press, 2000, 115–27.Google Scholar

Johansen, Ib, ‘Visible Darkness: Shakespeare’s King Lear and Kurosawa’s Ran’, in Screen Shakespeare, ed. Skovmand, Michael. Aarhus: Aarhus University Press, 1994, 64–86.Google Scholar

Jortner, David, ‘The Stability of the Heart amidst Fields of Green: an Ecocritical Reading of Kurosawa Akira’s Ran’. Post Script: Essays in Film and the Humanities 20.1 (Fall 2000): 82–91.Google Scholar

Kane, Julie, ‘From the Baroque to Wabi: Translating Animal Imagery from Shakespeare’s King Lear to Kurosawa’s Ran’. Literature/Film Quarterly 25 (1997): 146–51.Google Scholar

Kehr, Dave, ‘Samurai Lear’. American Film 10.10 (Sept. 1985): 20–6.Google Scholar

Keller, Jocelyn and Keller, Wolfram R., ‘“Now is the time”: Shakespeare’s Medieval Temporalities in Akira Kurosawa’s Ran’, in The Medieval Motion Picture: the Politics of Adaptation, ed. Johnston, Andrew James, Rouse, Margitta and Hinz, Philipp. New York and Basingstoke: Palgrave Macmillan, 2014, 19–40.Google Scholar

Kishi, Tetsuo and Bradshaw, Graham, ‘Shakespeare and Japanese Film: Kurosawa Akira’, in their Shakespeare in Japan. London and New York: Continuum, 2005, 126–45.Google Scholar

Kott, Jan, ‘Ran, or the End of the World’, in his The Bottom Translation: Marlowe and Shakespeare and the Carnival Tradition. Trans. Daniela Miedzyrzecka and Lillian Vallee. Evanston: Northwestern University Press, 1987, 143–51.Google Scholar

Kurosawa, Akira, Oguni, Hideo and Masato, Ide, Ran. Trans. Tadashi Shishido. Boston and London: Shambhala, 1986.Google Scholar

Leggatt, Alexander, ‘Cross-cultural Dialogue: Akira Kurosawa’s Ran’, in his King Lear. 2nd edn. Manchester and New York: Manchester University Press, 2004, 169–99.Google Scholar

Linton, Joan Pong, ‘Kurosawa’s Ran (1985) and King Lear: Towards a Conversation on Historical Responsibility’. Quarterly Review of Film and Video 23 (2006): 341–51.Google Scholar

Manheim, Michael, ‘The Function of Battle Imagery in Kurosawa’s Histories and the Henry V Films’. Literature/Film Quarterly 22 (1994): 129–35.Google Scholar

McDonald, Keiko, ‘The Noh Convention in The Throne of Blood and Ran’, in her Japanese Classical Theater in Films. Rutherford: Fairleigh Dickinson University Press, 1994, 125–44.Google Scholar

Nardo, Anna K., ‘Dialogue in Shakespearean Offshoots’. Literature/Film Quarterly 34 (2006): 104–12.Google Scholar

Nordin, Kenneth D., ‘Buddhist Symbolism in Akira Kurosawa’s Ran: a Counterpoint to Human Chaos’. Asian Cinema 16 (2005): 242–54.Google Scholar

Parker, Brian, ‘Ran and the Tragedy of History’. University of Toronto Quarterly 55 (1986): 412–23.Google Scholar

Perret, Marion D., ‘Caveat Lector: the Screenplay of Ran’. Shakespeare on Film Newsletter 13.1 (Dec. 1988): 1, 6.Google Scholar

Phillips, Stephen J., ‘Akira Kurosawa’s Ran’, in ‘Lear’ from Study to Stage: Essays in Criticism, ed. Ogden, James and Scouten, Arthur H.. Madison: Fairleigh Dickinson University Press, 1997, 267–77.Google Scholar

Powers, John, ‘Kurosawa: an Audience with the Emperor’, in Akira Kurosawa: Interviews, ed. Cardullo, Bert. Jackson: University Press of Mississippi, 2008, 131–8.Google Scholar

Prince, Stephen, ‘Years of Transition’, in his The Warrior’s Camera: the Cinema of Akira Kurosawa. Revised and expanded edn. Princeton: Princeton University Press, 1999, 250–91.Google Scholar

Richie, Donald, ‘Ran’, in his The Films of Akira Kurosawa. 3rd expanded edn. Berkeley and Los Angeles: University of California Press, 1996, 214–19.Google Scholar

Ryan, Bartholomew, ‘Deception, Nature and Nihilism in Politics: King Lear and Kurosawa’s Ran’, in Politics Otherwise: Shakespeare as Social and Political Critique, ed. Donskis, Leonidas and Mininger, J. D.. Amsterdam and New York: Rodopi, 2012, 69–84.Google Scholar

Serper, Zvika, ‘Blood Visibility/Invisibility in Kurosawa’s Ran’. Literature/Film Quarterly 28 (2000): 149–54.Google Scholar

Serper, Zvika, ‘The Bloodied Sacred Pine Tree: a Dialectical Depiction of Death in Kurosawa’s Throne of Blood and Ran’. Journal of Film and Video 52.2 (Summer 2000): 13–27.Google Scholar

Serper, Zvika, ‘Lady Kaede in Kurosawa’s Ran: Verbal and Visual Characterization through Animal Traditions’. Japan Forum 13 (2001): 145–58.Google Scholar

Sheplock, Sarah, ‘“Contending with fretful elements”: Shakespeare, Kurosawa and the Benshi. On Film Adaptation’. Anglistica 15.2 (2011): 1–14.Google Scholar

Takakuwa, Yoko, ‘(En)Gendering Desire in Performance: King Lear, Akira Kurosawa’s Ran, Tadashi Suzuki’s The Tale of Lear’, in Shakespeare and His Contemporaries in Performance, ed. Esche, Edward J.. Aldershot and Burlington: Ashgate, 2000, 35–49.Google Scholar

Thompson, Ann, ‘Kurosawa’s Ran: Reception and Interpretation’. East-West Film Journal 3.2 (June 1989): 1–13.Google Scholar

Willson, Robert F., Jr, ‘Ran and King Lear: Adaptation as Interpretation’. Deutsche Shakespeare-Gesellschaft West: Jahrbuch (1987): 114–16.Google Scholar

Wing, Susan L., ‘King Lear “Translated”: a Cross-Cultural Psychoanalytic Reading of Kurosawa’s Ran’, in Proceedings of the Seventh International Conference on Psychology and Literature. Lisbon: Instituto Superior de Psicologia Aplicada, 1991, 169–75.Google Scholar

Yamamoto, Hiroshi, ‘On Kurosawa’s King Lear’. Renaissance Bulletin 12 (1985): 41–5.Google Scholar

Lan, Yong Li, ‘Spectacle and Shakespeare on Film’, in Shakespeare’s World/World Shakespeares: the Selected Proceedings of the International Shakespeare Association World Congress, Brisbane, 2006, ed. Fotheringham, Richard, Jansohn, Christa and White, R. S.. Newark: University of Delaware Press, 2008, 182–92.Google Scholar

Yoshimoto, Mitsuhiro, ‘Ran’, in his Kurosawa: Film Studies and Japanese Cinema. Durham, NC: Duke University Press, 2000, 355–8.Google Scholar

Coursen, H. R., ‘Editing the Script’, in his Watching Shakespeare on Television. Rutherford: Fairleigh Dickinson University Press, 1993, 93–104.Google Scholar

Griffin, Alice, ‘Shakespeare through the Camera’s Eye 1953–1954’. Shakespeare Quarterly 6 (1955): 63–6.Google Scholar

Howard, Tony, ‘When Peter Met Orson: the 1953 CBS King Lear’, in Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video, ed. Boose, Lynda E. and Burt, Richard. London and New York: Routledge, 1997, 121–34.Google Scholar

Rippy, Marguerite H., ‘Orson Welles’, in Welles, Kurosawa, Kozintsev, Zeffirelli, by Thornton Burnett, Mark, Lehmann, Courtney, Rippy, Marguerite H. and Wray, Ramona. London and New York: Bloomsbury, 2013, 7–53.Google Scholar

Rosenberg, Marvin, ‘Shakespeare on TV: an Optimistic Survey’, in Shakespeare on Television: an Anthology of Essays and Reviews, ed. Bulman, J. C. and Coursen, H. R.. Hanover and London: University Press of New England, 1988, 85–91.Google Scholar

Wadsworth, Frank W., ‘“Sound and Fury”–King Lear on Television’. Quarterly of Film, Radio, and Television 8 (1954): 254–68.Google Scholar

Miller, Jonathan, ‘Subsequent Performances II: iv’, in his Subsequent Performances. London and Boston: Faber and Faber, 1986, 119–53.Google Scholar

Cook, Hardy M., ‘Two Lears for Television: an Exploration of Televisual Strategies’. Literature/Film Quarterly 14 (1986): 179–86.Google Scholar

Coursen, H. R., ‘Edmund’s Nature’, in his Shakespearean Performance as Interpretation. Newark: University of Delaware Press, 1992, 122–8.Google Scholar

Fenwick, Henry, ‘The Production’, in ‘King Lear’: the BBC TV Shakespeare, ed. Alexander, Peter et al. London: British Broadcasting Corporation, 1983, 19–34.Google Scholar

Leggatt, Alexander, ‘Jonathan Miller and Michael Hordern’, in his King Lear. 2nd edn. Manchester and New York: Manchester University Press, 2004, 118–31.Google Scholar

Lusardi, James P. and Schlueter, June, Reading Shakespeare in Performance: ‘King Lear’. Rutherford: Fairleigh Dickinson University Press, 1991.Google Scholar

Schlueter, June, ‘Staging the Promised End’, in her Dramatic Closure: Reading the End. Madison: Fairleigh Dickinson University Press, 1995, 115–23.Google Scholar

Willis, Susan, ‘Jonathan Miller: Producer and Director’, in her The BBC Shakespeare Plays: Making the Televised Canon. Chapel Hill and London: University of North Carolina Press, 1991, 107–34.Google Scholar

Worthen, William B., ‘The Player’s Eye: Shakespeare on Television’. Comparative Drama 18 (1984): 193–202.Google Scholar

Davies, Anthony, ‘Revisiting the Olivier King Lear on Television’, in Shakespeare on Screen: Television Shakespeare: Essays in Honour of Michèle Willems, ed. Hatchuel, Sarah and Vienne-Guerrin, Nathalie. Mont-Saint-Aignan: Publications des Universités de Rouen et du Havre, 2008, 79–90.Google Scholar

Gibińska, Marta, ‘Olivier’s King Lear and the Problem of Naturalistic Mimesis in Modern Media’, in Reception of the Classics in Modern Theatre: Proceedings of Kraków-Bochum Symposium in Theatre Studies, Kraków, 21–23 May 1991, ed. Gibińska, Marta. Cracow: Towarzystwo Autorów i Wydawców Prac Naukowych Universitas, 1991, 57–72.Google Scholar

Kimbrough, R. Alan, ‘Olivier’s Lear and the Limits of Video’, in Shakespeare on Television: an Anthology of Essays and Reviews, ed. Bulman, J. C. and Coursen, H. R.. Hanover and London: University Press of New England, 1988, 115–22.Google Scholar

Leggatt, Alexander, ‘Laurence Olivier’, in his King Lear. 2nd edn. Manchester and New York: Manchester University Press, 2004, 132–43.Google Scholar

Mebane, John S., ‘Olivier’s King Lear and the “Feminine” Virtues in Shakespearean Tragedy’. Shakespeare Yearbook 3 (1992): 143–66.Google Scholar

Millard, Barbara, ‘Husbanded with Modesty: Shakespeare on TV’. Shakespeare Bulletin 4.3 (May/June 1986): 19–22.Google Scholar

Occhiogrosso, Frank, ‘“Give Me Thy Hand”: Manual Gesture in the Elliott-Olivier King Lear’. Shakespeare Bulletin 2.9 (May/June 1984): 16–19.Google Scholar

Orbison, Tucker, ‘The Stone and the Oak: Olivier’s TV Film of King Lear’. CEA Critic 47.1–2 (Fall and Winter 1984): 67–77.Google Scholar

Rothwell, Kenneth S., ‘Laurence Olivier Directs Shakespeare’, in his A History of Shakespeare on Screen: a Century of Film and Television. 2nd edn. Cambridge: Cambridge University Press, 2004, 47–68.Google Scholar

Coursen, H. R., ‘Shakespeare on Television: Four Recent Productions’, in his Shakespeare in Space: Recent Shakespeare Productions on Screen. New York: Peter Lang, 2002, 53–70.Google Scholar

Leggatt, Alexander, ‘Ian Holm and Richard Eyre’, in his King Lear. 2nd edn. Manchester and New York: Manchester University Press, 2004, 144–68.Google Scholar

Rothwell, Kenneth S., ‘Shakespeare in Love, in Love with Shakespeare: the Adoration after the Millennium’, in his A History of Shakespeare on Screen: a Century of Film and Television. 2nd edn. Cambridge: Cambridge University Press, 2004, 248–74.Google Scholar

Coursen, H. R., ‘Three Recent Productions’, in his Contemporary Shakespeare Production. New York: Peter Lang, 2010, 160–72.Google Scholar

Rowe, Katherine, ‘Medium-Specificity and Other Critical Scripts for Screen Shakespeare’, in Alternative Shakespeares 3, ed. Henderson, Diana E.. London and New York: Routledge, 2008, 34–53.Google Scholar

Coursen, H. R., ‘King Lear’, in his Shakespeare Translated: Derivatives on Film and TV. New York: Peter Lang, 2005, 115–31.Google Scholar

Griggs, Yvonne, ‘Displacing the Patriarchal Family: Joseph Mankiewicz’s House of Strangers (1949)’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 121–6.Google Scholar

Oya, Reiko, ‘Filming “The Weight of This Sad Time”: Yasujiro Ozu’s Rereading of King Lear in Tokyo Story (1953)’. Shakespeare Survey 66 (2013): 55–66.Google Scholar

Griggs, Yvonne, ‘King Lear as Western Elegy: Edward Dmytryk’s Broken Lance (1954)’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 100–10.Google Scholar

Kliman, Bernice W., ‘Broken Lance Is Not Lear’. Shakespeare on Film Newsletter 2.1 (Dec. 1977): 3.Google Scholar

Pendleton, Thomas A., ‘The Return of The Broken Lance’. Shakespeare on Film Newsletter 3.1 (Dec. 1978): 3.Google Scholar

Willson, Robert F., Jr, ‘Selected Offshoots: Shakespeare at War, on Broadway, in the Mob, in Space, and on the Range’, in his Shakespeare in Hollywood, 1929–1956. Madison and Teaneck: Fairleigh Dickinson University Press, 2000, 74–129.Google Scholar

Ardolino, Frank, ‘Metadramatic Grand Guignol in Theater of Blood’. Shakespeare on Film Newsletter 15.2 (Apr. 1991): 9.Google Scholar

Gearhart, Stephannie S., ‘“Only he would have the temerity to rewrite Shakespeare”: Douglas Hickox’s Theatre of Blood as Adaptation’. Literature/Film Quarterly 39 (2011): 116–27.Google Scholar

Holdefer, Charles, ‘Bad Shakespeare: Adapting a Tradition’, in Screening Text: Critical Perspectives on Film Adaptation, ed. Wells-Lassagne, Shannon and Hudelet, Ariane. Jefferson and London: McFarland, 2013, 197–206.Google Scholar

Hutchings, Peter, ‘Theatres of Blood: Shakespeare and the Horror Film’, in Gothic Shakespeares, ed. Drakakis, John and Townshend, Dale. London and New York: Routledge, 2008, 153–66.Google Scholar

Loiselle, André, ‘Cinéma du Grand Guignol: Theatricality in the Horror Film’, in Stages of Reality: Theatricality in Cinema, ed. Loiselle, André and Maron, Jeremy. Toronto: University of Toronto Press, 2012, 55–80.Google Scholar

Lowe, Victoria, ‘“Stages of Performance”: Adaptation and Intermediality in Theatre of Blood (1973)’. Adaptation 3 (2010): 99–111.Google Scholar

Pendleton, Thomas A., ‘What [?] Price [?] Shakespeare [?]’ Literature/Film Quarterly 29 (2001): 135–46.Google Scholar

Tibbetts, John C., ‘Backstage with the Bard: Or, Building a Better Mousetrap’, in The Encyclopedia of Stage Plays into Film, ed. Tibbetts, John C. and Welsh, James M.. New York: Facts on File, 2001, 541–70.Google Scholar

Schoenbaum, S., ‘Looking for Shakespeare’, in Shakespeare’s Craft: Eight Lectures, ed. Highfill, Philip H.. Carbondale: Southern Illinois University Press for George Washington University, 1982, 156–77.Google Scholar

Wasson, Sam, ‘Harry and Tonto’, in his Paul on Mazursky. Middletown: Wesleyan University Press, 2011, 77–88.Google Scholar

Wasson, Sam, ‘Josh on Mazursky’, in his Paul on Mazursky. Middletown: Wesleyan University Press, 2011, 89–92.Google Scholar

Burt, Richard, ‘All That Remains of Shakespeare in Indian Film’, in Shakespeare in Asia: Contemporary Performance, ed. Kennedy, Dennis and Lan, Yong Li. Cambridge: Cambridge University Press, 2010, 73–108.Google Scholar

Cassity, Kathleen J., ‘Emerging from Shadows: the “Unhomed” Anglo-Indian of 36 Chowringhee Lane’. International Journal of Anglo-Indian Studies 6 (2001): home.alphalink.com.au/~agilbert/chowri~1.html (accessed 17 May 2019).Google Scholar

García-Periago, Rosa M., ‘English Shakespeares in Indian Cinema: 36 Chowringhee Lane and The Last Lear’. Borrowers and Lenders: the Journal of Shakespeare and Appropriation 9.2 (Fall/Winter 2015): www.borrowers.uga.edu/1634/show (accessed 17 May 2019).Google Scholar

Greenberg, Harvey R., ‘The Dresser: Played to Death’. Psychoanalytic Review 72 (1985): 347–52.Google Scholar

Meyer-Dinkgräfe, Daniel, ‘From Theatre to Film: Ronald Harwood’s The Dresser’. Shakespeare Bulletin 8.3 (Summer 1990): 37–8.Google Scholar

Bennett, Susan, ‘Production and Proliferation: Seventeen Lears’, in her Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London and New York: Routledge, 1996, 39–78.Google Scholar

Kershaw, Baz, ‘King Real’s King Lear: Radical Shakespeare for the Nuclear Age’. Critical Survey 3 (1991): 249–59.Google Scholar

Bennett, Susan, ‘Godard and Lear: Trashing the Can(n)on’. Theatre Survey 39 (1998): 7–19.Google Scholar

Diniz, Thaís Nogueira, Flores, ‘Godard: a Contemporary King Lear’, in Foreign Accents: Brazilian Readings of Shakespeare, ed. Cunha Resende, Aimara da. Newark: University of Delaware Press, 2002, 198–206.Google Scholar

Donaldson, Peter S., ‘Disseminating Shakespeare: Paternity and Text in Jean-Luc Godard’s King Lear’, in his Shakespearean Films/Shakespearean Directors. Boston and London: Unwin Hyman, 1990, 189–225.Google Scholar

Donaldson, Peter S., ‘Shakespeare and Media Allegory’, in Shakespeare and Genre: from Early Modern Inheritances to Postmodern Legacies, ed. Guneratne, Anthony R.. New York and Basingstoke: Palgrave Macmillan, 2011, 223–37.Google Scholar

Griggs, Yvonne, ‘“Meantime we shall express our darker purpose”: Jean-Luc Godard’s King Lear (1987)’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 156–70.Google Scholar

Guneratne, Anthony R., ‘Six Authors in Search of a Text: the Shakespeares of Van Sant, Branagh, Godard, Pasolini, Greenaway, and Luhrmann’, in his Shakespeare, Film Studies, and the Visual Cultures of Modernity. New York and Basingstoke: Palgrave Macmillan, 2008, 211–49.Google Scholar

Guneratne, Anthony R., ‘Four Funerals and a Bedding: Freud and the Post-Apocalyptic Apocalypse of Jean-Luc Godard’s King Lear’, in Apocalyptic Shakespeare: Essays on Visions of Chaos and Revelation in Recent Film Adaptations, ed. Croteau, Melissa and Jess-Cooke, Carolyn. Jefferson and London: McFarland, 2009, 197–215.Google Scholar

Guneratne, Anthony, ‘A Certain Tendency in Post-New Wave French Shakespearean Cinema: from Early Truffaut to Late Godard via Orson Welles’, in Shakespeare on Screen in Francophonia, special issue, ed. Croteau, Melissa, gen. ed. Dorval, Patricia and Vienne-Guerrin, Nathalie. Université Montpellier III, Institut de Recherche sur la Renaissance, l’Âge Classique et les Lumières (IRCL), 2016. shakscreen.org/post-new_wave_french_cinema/ (accessed 17 May 2019).Google Scholar

Habinek, Lianne, ‘Getting to Page Four of King Lear with Jean-Luc Godard’. Shakespeare (British Shakespeare Association) 9 (2013): 76–90.Google Scholar

Harrison, Keith, ‘Bakhtinian Polyphony in Godard’s King Lear’, in his Shakespeare, Bakhtin, and Film: a Dialogic Lens. Cham: Palgrave Macmillan, 2017, 141–62.Google Scholar

Impastato, David, ‘Godard’s Lear … Why Is It so Bad?’ Shakespeare Bulletin 12.3 (Summer 1994): 38–41.Google Scholar

Maerz, Jessica M., ‘Godard’s King Lear: Referents Provided upon Request’. Literature/Film Quarterly 32 (2004): 108–14.Google Scholar

Morrey, Douglas, ‘Smiling with Regret: 1984–90’, in his Jean-Luc Godard. Manchester and New York: Manchester University Press, 2005, 165–95.Google Scholar

Murray, Timothy, ‘The Crisis of Cinema in the Age of New World Memory: the Baroque Legacy of Jean-Luc Godard’, in his Digital Baroque: New Media Art and Cinematic Folds. Minneapolis and London: University of Minnesota Press, 2008, 85–110.Google Scholar

Petříková, Linda, ‘Against Adaptation: Jean-Luc Godard’s King Lear’. Litteraria Pragensia 20.39 (July 2010): 41–54.Google Scholar

Robinson, Marc, ‘Resurrected Images: Godard’s King Lear’. Performing Arts Journal 11.1 (31) (Jan. 1988): 20–5.Google Scholar

Rosenbaum, Jonathan, ‘The Importance of Being Perverse: Godard’s King Lear’, in his Placing Movies: the Practice of Film Criticism. Berkeley: University of California Press, 1995, 184–9.Google Scholar

Walworth, Alan, ‘Cinema Hysterica Passio: Voice and Gaze in Jean-Luc Godard’s King Lear’, in The Reel Shakespeare: Alternative Cinema and Theory, ed. Starks, Lisa S. and Lehmann, Courtney. Madison and Teaneck: Fairleigh Dickinson University Press, 2002, 59–94.Google Scholar

Griggs, Yvonne, ‘Mafia Father Figures: Francis Ford Coppola’s The Godfather Trilogy (1972, 1974, 1990)’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 126–33.Google Scholar

Burnett, Mark Thornton, ‘Capital, Commodities, Cinema: Shakespeare and the Eastern European “Gypsy” Aesthetic’. Shakespeare Jahrbuch 150 (2014): 146–60.Google Scholar

Ezell, Pamela, ‘A Thousand Acres: King Lear for the Heartland’. Creative Screenwriting 5.2 (1998): 16–19.Google Scholar

Griggs, Yvonne, ‘King Lear as Melodrama: Jocelyn Moorhouse’s A Thousand Acres (1997)’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 143–54.Google Scholar

Keller, James R., ‘Dreaming of the Pure Vegetable Kingdom: Ecofeminism and Agriculture in A Thousand Acres and Antonia’s Line’, in his Food, Film and Culture: a Genre Study. Jefferson and London: McFarland, 2006, 94–108.Google Scholar

Lehmann, Courtney, ‘A Thousand Shakespeares: from Cinematic Saga to Feminist Geography or, The Escape from Iceland’, in A Companion to Shakespeare and Performance, ed. Hodgdon, Barbara and Worthen, W. B.. Malden and Oxford: Blackwell, 2005, 588–609.Google Scholar

Marquardt, Anne-Kathrin, ‘Unlearning Tradition: William Shakespeare’s King Lear, Jane Smiley’s and Jocelyn Moorhouse’s A Thousand Acres’, in Rewriting Shakespeare’s Plays for and by the Contemporary Stage, ed. Dobson, Michael and Rivier-Arnaud, Estelle. Newcastle: Cambridge Scholars Publishing, 2017, 11–29.Google Scholar

Bottinelli, Jennifer J., ‘Watching Lear: Resituating the Gaze at the Intersection of Film and Drama in Kristian Levring’s The King Is Alive’. Literature/Film Quarterly 33 (2005): 101–9.Google Scholar

Buchanan, Judith, ‘Leaves of Brass and Gads of Steel: Cinema as Subject in Shakespeare Films, 1991–2000’, in her Shakespeare on Film. Harlow: Pearson Longman, 2005, 220–60.Google Scholar

Burnett, Mark Thornton, ‘Spirituality/Meaning/Shakespeare’, in his Filming Shakespeare in the Global Marketplace. Basingstoke and New York: Palgrave Macmillan, 2007, 107–28.Google Scholar

Burt, Richard, ‘Alluding to Shakespeare in L’Appartement, The King Is Alive, Wicker Park, a Time to Love, and University of Laughs: Digital Film, Asianization, and the Transnational Film Remake’. Shakespeare Yearbook 17 (2010): 45–78.Google Scholar

Calbi, Maurizio, ‘Shakespearean Retreats: Spectrality, Survival, and Autoimmunity in Kristian Levring’s The King Is Alive’, in his Spectral Shakespeares: Media Adaptations in the Twenty-First Century. New York and Basingstoke: Palgrave Macmillan, 2013, 39–61.Google Scholar

Cartelli, Thomas and Rowe, Katherine, ‘Surviving Shakespeare: Kristian Levring’s The King Is Alive’, in their New Wave Shakespeare on Screen. Cambridge and Malden: Polity Press, 2007, 142–64.Google Scholar

Chumo, II, Peter, N., ‘The King Is Alive: Screenplay by Kristian Levring’. Creative Screenwriting 8.4 (July/Aug. 2001): 20–2.Google Scholar

Ferguson, Ailsa Grant, ‘The Dance of Death: Dogme#4: The King Is Alive and King Lear’, in her Shakespeare, Cinema, Counter-Culture: Appropriation and Inversion. New York and London: Routledge, 2016, 58–86.Google Scholar

Griggs, Yvonne, ‘“Radical art phalanx” versus “a clever flag of PR convenience”: Kristian Levring’s The King Is Alive (2000)’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 171–85.Google Scholar

Harrison, Keith, ‘Shakespeare Shaping in Dogme95 Films, and Bakhtin’s Theory of Tragedy’, in his Shakespeare, Bakhtin, and Film: a Dialogic Lens. Cham: Palgrave Macmillan, 2017, 163–86.Google Scholar

Holland, Peter, ‘On the Gravy Train: Shakespeare, Memory and Forgetting’, in Shakespeare, Memory and Performance, ed. Peter, Holland. Cambridge and New York: Cambridge University Press, 2006, 207–34.Google Scholar

Jess, Carolyn, ‘“The Barbarous Cronos”: (Post)Colonialism, Sequelization, and Regenerative Authority in Kristian Levring’s The King Is Alive (2000)’. Shakespeare in Southern Africa 15 (2003): 11–20.Google Scholar

Jess, Carolyn, ‘New-ness, Sequelization, and Dogme Logic in Kristian Levring’s The King Is Alive’. New Cinemas: Journal of Contemporary Film 3 (2005): 3–16.Google Scholar

Jess-Cooke, Carolyn, ‘“The Promised End” of Cinema: Portraits of Apocalypse in Post-Millennial Shakespearean Film’, in Apocalyptic Shakespeare: Essays on Visions of Chaos and Revelation in Recent Film Adaptations, ed. Croteau, Melissa and Jess-Cooke, Carolyn. Jefferson and London: McFarland, 2009, 216–27.Google Scholar

Kelly, Richard, ‘“Is this the promised end?”: Kristian Levring & The King Is Alive’, in his The Name of This Book Is Dogme95. London and New York: Faber and Faber, 2000, 209–17.Google Scholar

Lehmann, Courtney, ‘The Passion of the W: Localizing Shakespeare, Globalizing Manifest Density from King Lear to Kingdom Come’. Upstart Crow 25 (2005): 16–32.Google Scholar

Livingston, Paisley, ‘Artistic Self-Reflexivity in The King Is Alive and Strass’, in Purity and Provocation: Dogma 95, ed. Hjort, Mette and MacKenzie, Scott. London: British Film Institute, 2003, 102–10.Google Scholar

Nochimson, Martha P., ‘The King Is Alive’. Film Quarterly 55.2 (Winter 2001): 48–54.Google Scholar

Roman, Shari, ‘Dogme 95 and the New Guard: Original Dogme: Kristian Levring’, in her Digital Babylon: Hollywood, Indiewood & Dogme 95. Hollywood: ifilm Publishing, 2001, 71–8.Google Scholar

Scott-Douglass, Amy, ‘Dogme Shakespeare 95: European Cinema, Anti-Hollywood Sentiment, and the Bard’, in Shakespeare, the Movie, II: Popularizing the Plays on Film, TV, Video, and DVD, ed. Burt, Richard and Boose, Lynda E.. London and New York: Routledge, 2003, 252–64.Google Scholar

Griggs, Yvonne, ‘Gangster Lear as Morality Tale: Don Boyd’s My Kingdom (2001)’, in her Shakespeare’s ‘King Lear’: the Relationship between Text and Film. London: Methuen Drama, 2009, 133–43.Google Scholar

Lehmann, Courtney, ‘The Postnostalgic Renaissance: the “Place” of Liverpool in Don Boyd’s My Kingdom’, in Screening Shakespeare in the Twenty-First Century, ed. Burnett, Mark Thornton and Wray, Ramona. Edinburgh: Edinburgh University Press, 2006, 72–89.Google Scholar

Aldama, Frederick Luis, ‘Race, Cognition, and Emotion: Shakespeare on Film’. College Literature 33.1 (Winter 2006): 197–213.Google Scholar

Coursen, H. R., ‘Shakespeare on Television’, in Sh@kespeare in the Media: from the Globe Theatre to the World Wide Web, ed. Brusberg-Kiermeier, Stefani and Helbig, Jörg. 2nd, revised edn. Frankfurt: Peter Lang, 2010, 169–78.Google Scholar

Osborne, Laurie E., ‘A Local Habitation and a Name: Television and Shakespeare’. Shakespeare Survey 61 (2008): 213–26.Google Scholar

Dengel-Janic, Ellen and Roering, Johanna, ‘Re-Imaging Shakespeare in Second Generation – A British-Asian Perspective on Shakespeare’s King Lear’, in Drama and Cultural Change: Turning around Shakespeare, ed. Bauer, Matthias and Zirker, Angelika. Trier: Wissenschaftlicher Verlag Trier, 2009, 211–19.Google Scholar

Marino, Alessandra, ‘Multicultural Shakespeare: Italian and British TV Series of the 9–11 pm Slot. “Brand” Shakespeare and TV Adaptations’. Anglistica 15.2 (2011): 15–26.Google Scholar

Marino, Alessandra, ‘Cut’n’mix King Lear: Second Generation and Asian-British Identities’, in Shakespeare and Conflict: a European Perspective, ed. Dente, Carla and Soncini, Sara. Basingstoke and New York: Palgrave Macmillan, 2013, 170–83.Google Scholar

Fedderson, Kim and Michael Richardson, J., ‘Slings & Arrows: an Intermediated Shakespearean Adaptation’, in OuterSpeares: Shakespeare, Intermedia, and the Limits of Adaptation, ed. Fischlin, Daniel. Toronto: University of Toronto Press, 2014, 205–29.Google Scholar

Osborne, Laurie E., ‘Serial Shakespeare: Intermedial Performance and the Outrageous Fortunes of Slings & Arrows’. Borrowers and Lenders: the Journal of Shakespeare and Appropriation 6.2 (Fall/Winter 2011): www.borrowers.uga.edu/783090/show (accessed 17 May 2019).Google Scholar

Pittman, L. Monique, ‘Tracing Hamlet in Slings and Arrows: Fathers Haunt the Theater’, in her Authorizing Shakespeare on Film and Television: Gender, Class, and Ethnicity in Adaptation. New York: Peter Lang, 2011, 177–206.Google Scholar

Royster, Francesca T., ‘Comic Terror and Masculine Vulnerability in Slings and Arrows: Season Three’. Journal of Narrative Theory 41 (2011): 343–61.Google Scholar

Chakravarti, Paromita, ‘Reading Intertextualities in Rituporno [sic] Ghosh’s The Last Lear: the Politics of Recanonization’. Shakespearean International Yearbook 12 (2012): 115–29.Google Scholar

Chakravarti, Paromita, ‘Interrogating “Bollywood Shakespeare”: Reading Rituparno Ghosh’s The Last Lear’, in Bollywood Shakespeares, ed. Dionne, Craig and Kapadia, Parmita. New York and Basingstoke: Palgrave Macmillan, 2014, 127–45.Google Scholar

Mukherjee, Ankhi, ‘hamarashakespeare.com: Shakespeare in India’, in her What Is a Classic?: Postcolonial Rewriting and Invention of the Canon. Stanford: Stanford University Press, 2014, 182–213.Google Scholar

Földváry, Kinga, ‘Postcolonial Hybridity: the Making of a Bollywood Lear in London’. Shakespeare (British Shakespeare Association) 9 (2013): 304–12.Google Scholar

Rayner, Jonathan, ‘Meditative Tangents: Fred Schepisi’s The Eye of the Storm (2011)’. Australian Studies 4 (2012): https://www.austlit.edu.au/austlit/page/6130749 (accessed 17 May 2019).Google Scholar

Walker, Elsie, ‘Adaptation as Re-reading, Line by Line’. Literature/Film Quarterly 41 (2013): 86–91.Google Scholar

Ibraheem, Noha Mohamad, Mohamad, ‘Ἁbd al-Raḥīm Kamāl’s Dahsha: an Upper Egyptian Lear’. Critical Survey 28.3 (Winter 2016): 67–85.Google Scholar

Winckler, Reto, ‘This Great Stage of Androids: Westworld, Shakespeare and the World as Stage’. Journal of Adaptation in Film & Performance 10 (2017): 169–88.Google Scholar

Book contents

Chapter 15 - King Lear on Screen: Select Film-bibliography

Summary

Access options

References

Save book to Kindle

Save book to Dropbox

Save book to Google Drive