Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-gbm5v Total loading time: 0 Render date: 2024-12-23T16:44:49.830Z Has data issue: false hasContentIssue false

Part I - Surviving Lear: Revisiting the Canon

Published online by Cambridge University Press:  10 September 2019

Edited by
Victoria Bladen ,
Sarah Hatchuel  and
Nathalie Vienne-Guerrin
Victoria Bladen
Affiliation:
University of Queensland
Sarah Hatchuel
Affiliation:
Université Paul Valéry, Montpellier
Nathalie Vienne-Guerrin
Affiliation:
Université Paul Valéry, Montpellier
Get access

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.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'

Keywords

screenfilmadaptationKing LearPeter BrookAkira KurosawaGrigori KozintsevFoolAkira KurosawaKing LearRanhumanismdidactismappropriationadaptationJapan
Type
Chapter
Information
Shakespeare on Screen: King Lear , pp. 31 - 62
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

Works Cited

Beauman, S., The Royal Shakespeare Company: a History of Ten Decades (Oxford: Oxford University Press, 1982).Google Scholar
Brook, P., The Quality of Mercy (New York: Theatre Communications Group, 2014).Google Scholar
Griggs, Y., Shakespeare’s ‘King Lear’: the Relationship between Text and Film (London: Methuen, 2009).Google Scholar
Holland, P., ‘Peter Brook’ in Holland, P. (ed.), Brook, Hall, Ninagawa, Lepage, vol. XVIII of Great Shakespeareans (London and New York: Bloomsbury, 2013), 7–46.Google Scholar
Jorgens, J., Shakespeare on Film (Bloomington: Indiana University Press, 1977).Google Scholar
Kott, J., Shakespeare Our Contemporary, trans. B. Taborski (New York: Anchor Books, 1966).Google Scholar
Kozintsev, G., ‘King Lear’: the Space of Tragedy, trans. M. Mackintosh (Berkeley: University of California Press, 1977).Google Scholar
Kurosawa., A., Ran (Boston and London: Shambhala, 1986).Google Scholar
Leggatt, A., Shakespeare in Performance: ‘King Lear’ (Manchester: Manchester University Press, 1991).Google Scholar
Lehmann, C., ‘Grigori Kozintsev’, in Burnett, M. T., Lehmann, C., Rippy, M. and Wray, R., Welles, Kurosawa, Kozintsev, Zeffirelli, vol. XVII of Great Shakespeareans (London and New York: Bloomsbury, 2013), 92–140.Google Scholar
Otto, B., Fools Are Everywhere: the Court Jester around the World (Chicago: University of Chicago Press, 2010).Google Scholar
Rothwell, K. S., A History of Shakespeare on Screen: a Century of Film and Television (Cambridge: Cambridge University Press, 1999).Google Scholar

Works Cited

Cardullo, B., World Directors in Dialogue: Conversations on Cinema (Blue Ridge Summit: Scarecrow Press, 2011).Google Scholar
Collick, J., Shakespeare, Cinema and Society (Manchester: Manchester University Press, 1989).Google Scholar
Dodson-Robinson, E., ‘Karma, Revenge, Apocalypse: Ran’s Violent Victim-Agent through Japanese and Western Contexts’, Shakespeare Bulletin 31.2 (2013): 233–55.Google Scholar
Geist, K., ‘Late Kurosawa: Kagemusha and Ran’, Post Script: Essays in Film and the Humanities 12.1 (Fall 1992): 26–36.Google Scholar
Goodwin, J., Akira Kurosawa and Intertextual Cinema (Baltimore: Johns Hopkins University Press, 1994).Google Scholar
Goto-Jones, C., Modern Japan: a Very Short Introduction (Oxford: Oxford University Press, 2009).Google Scholar
Grilli, P., ‘Kurosawa Directs a Cinematic Lear’, in Goodwin, J. (ed.), Perspectives on Akira Kurosawa (New York: G. K. Hall, 1994), 60.Google Scholar
Herbrechter, S., ‘Introduction: Shakespeare ever after’, in Herbrechter, S. and Callus, I. (eds.), Posthumanist Shakespeares (New York: Palgrave Macmillan, 2012), 1–19.Google Scholar
Hirano, K., ‘Making Films for All the People’ in Goodwin, J. (ed.), Perspectives on Akira Kurosawa (New York: G. K. Hall, 1994), 57–8.Google Scholar
Howlett, K. M., Framing Shakespeare on Film (Athens: Ohio University Press, 2000).Google Scholar
Keene, D. (ed.), Twenty Plays of the Nō Theater (New York: Columbia University Press, 1970).Google Scholar
Kurosawa, A., Something like an Autobiography, trans. A. E. Bock (New York: Random House, 1983).Google Scholar
Oguni, H. and Masato, I., Ran [screenplay] (Boston: Shambala, 1986).Google Scholar
Leonard, K. P., Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations (Lanham: Scarecrow Press, 2009).Google Scholar
Marker, C. (dir.), ‘A. K.’, documentary on Disc 2 of Ran (1985), dir. Akira Kurosawa (Criterion, 2005).Google Scholar
McDonald, K., Japanese Classical Theater in Films (Rutherford: Fairleigh Dickinson University Press, 1994).Google Scholar
Mousley, A., ‘Care, Scepticism and Speaking in the Plural: Posthumanisms and Humanisms in King Lear’, in Herbrechter, S. and Callus, I. (eds.), Posthumanist Shakespeares (New York: Palgrave Macmillan, 2012), 97–113.Google Scholar
Nordin, K. D., ‘Buddhist Symbolism in Akira Kurosawa’s Ran: a Counterpoint to Human Chaos’, Asian Cinema 16.2 (2005): 242–54.Google Scholar
Prince, S., The Warrior’s Camera: the Cinema of Akira Kurosawa, revised and expanded edition (Princeton: Princeton University Press, 1999).Google Scholar
‘Zen and Selfhood: Patterns of Eastern Thought in Kurosawa’s Films’, in Goodwin, J. (ed.), Perspectives on Akira Kurosawa (New York: G. K. Hall, 1994), 225–35.Google Scholar
Richie, D., The Films of Akira Kurosawa, 3rd edition, expanded and updated (Berkeley and Los Angeles: University of California Press, 1996).Google Scholar
Shields, J. M., ‘Kurosawa, Akira (1910–1998)’, in Mazur, E. M. (ed.), Encyclopedia of Religion and Film (Santa Barbara: ABC-CLIO, 2011), 279–83.Google Scholar
Shimazaki, C., Restless Spirits from Japanese Noh Plays of the Fourth Group (Ithaca: Cornell University Press, 1995).Google Scholar
Troubled Souls from Japanese Noh Plays of the Fourth Group (Ithaca: Cornell University Press, 1998).Google Scholar
Spitznas, A., ‘The Flayed Hare: Trauma and Hope in the Late Films of Kurosawa’, in Morefield, K. R. (ed.), Faith and Spirituality in the Masters of World Cinema (Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2011), 11–41.Google Scholar
Teo, S., The Asian Cinema Experience: Styles, Spaces, Theory (New York: Routledge, 2013).Google Scholar
Tessier, M., ‘Interview with Toru Takemitsu’, in DVD Booklet, Ran (1985), dir. Akira Kurosawa (Criterion, 2005), 19–22.Google Scholar
Thornton, S. A., The Japanese Period Film: a Critical Analysis (Jefferson: McFarland, 2007).Google Scholar
Ueda, M., The Old Pine Tree and Other Noh Plays, trans. M. Ueda (Lincoln, NE: University of Nebraska Press, 1962).Google Scholar
Watanabe, K., ‘Interview with Akira Kurosawa on Ran’, in DVD Booklet, Ran (1985), dir. Akira Kurosawa (Criterion, 2005), 10–17.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×