Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-22T20:08:17.555Z Has data issue: false hasContentIssue false

Chapter 1 - Introduction

‘What Have We Here?’: Acknowledging Shakespeare's Romances on Screen

Published online by Cambridge University Press:  16 June 2017

Sarah Hatchuel
Affiliation:
Université du Havre, France
Nathalie Vienne-Guerrin
Affiliation:
Université Paul Valéry, Montpellier
Get access
Type
Chapter
Information
Shakespeare on Screen
<I>The Tempest</I> and Late Romances
, pp. 1 - 23
Publisher: Cambridge University Press
Print publication year: 2017

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

Anderegg, M., Cinematic Shakespeare (Lanham: Rowman and Littlefield, 2004).Google Scholar
Anderegg, M.. ‘Greenaway's Baroque Mise en scene at the Imaginative Centre of Shakespeare's The Tempest: A Hypertextual Recapitulation of the Rivalry between Ben Jonson and Inigo Jones?’ in Stalpaert, C. (ed.), Peter Greenaway's ‘Prospero's Books’: Critical Essays (Ghent: Academia Press, 2000), 101–19.Google Scholar
Andreas, , ‘“Where's the Master?”: The Technologies of the Stage, Book, and Screen in The Tempest and Prospero's Books’, in Hedrick, D. and Reynolds, B. (eds.), Shakespeare without Class: Misappropriations of Cultural Capital (New York and Basingstoke: Palgrave, 2000), 189208.Google Scholar
Armel, A., ‘Jacques Rivette autour du cinéma’, La Nouvelle Revue Française 520, Special Issue (May 1996), 60–9.Google Scholar
Buchanan, J., ‘Not Sycorax’, in McMullan, G., Orlin, L. Cowen and Vaughan, V. M. (eds.), Women Making Shakespeare: Text, Reception, Performance (London and New York: Bloomsbury, 2014), 335–45.Google Scholar
Buchanan, J.. Shakespeare on Film (Harlow: Pearson Longman, 2005).Google Scholar
Buchanan, J.. ‘Forbidden Planet and the Retrospective Attribution of Intentions’, in Cartmell, D., Hunter, I. Q. and Whelehan, I. (eds.), Retrovisions: Reinventing the Past in Film and Fiction (London and Sterling: Pluto Press, 2001), 148–62.Google Scholar
Buhler, S., Shakespeare in the Cinema: Ocular Proof (Albany: State University of New York Press, 2002).Google Scholar
Burt, R., ‘Mobilizing Foreign Shakespeare in Media’, in Huang, A. and Ross, C. S. (eds.), Shakespeare in Hollywood, Asia, and Cyberspace (West Lafayette: Purdue University Press, 2009), 231–9.Google Scholar
Cartelli, T. and Rowe, K., ‘Adaptation as a Cultural Process’, in their New Wave Shakespeare on Screen (Cambridge and Malden: Polity, 2007), 2544.Google Scholar
Chedgzoy, K., Shakespeare's Queer Children: Sexual Politics and Contemporary Culture (Manchester and New York: Manchester University Press, 1995).Google Scholar
Costantini-Cornède, A.-M., ‘De La Tempête à Prospero's Books: Vertige des sens et fragmentation du sens’, in Dorval, P. (ed.), Shakespeare et le cinéma: Actes du Congrès de 1998 (Paris: Société Française Shakespeare, 1998), 5776: http://shakespeare.revues.org/948.Google Scholar
Crowl, S., review of The Tempest, Shakespeare Bulletin 29 (2011), 177–81.CrossRefGoogle Scholar
Crowl, S.. ‘Stormy Weather: A New Tempest on Film’. Shakespeare on Film Newsletter 5.1 (December 1980), 1, 57.Google Scholar
Davis, H. H., ‘“Rounded with a sleep”: Prospero's Dream in Derek Jarman's The Tempest’, Literature/Film Quarterly 41 (2013), 92101.Google Scholar
Donaldson, P. S., ‘Digital Archives and Sibylline Fragments: The Tempest and the End of Books’. Postmodern Culture 8.2 (January 1998), http://muse.jhu.edu/journals/pmc/v008/8.2donaldson.htmlGoogle Scholar
Donaldson, P. S.. ‘Shakespeare in the Age of Post-Mechanical Reproduction: Sexual and Electronic Magic in Prospero's Books’, in Burt, R. and Boose, L. E. (eds.), Shakespeare, the Movie, II: Popularizing the Plays on Film, TV, Video, and DVD (London and New York: Routledge, 2003), 105–19.Google Scholar
Dragan, R., ‘Brave New Worlds: The Book, the Cinema, and Web 2.0 in Peter Greenaway's Prospero's Books and The Tulse Luper Suitcases’, Literature/Film Quarterly 39 (2011), 99115.Google Scholar
Forsyth, N., ‘Shakespeare and Méliès: Magic, Dream and the Supernatural’, Études Anglaises 55 (2002), 167–80.CrossRefGoogle Scholar
Friedman, M. D., ‘Where Was He Born? Speak! Tell Me!: Julie Taymor's Tempest, Hawaiian Slavery, and the Birther Controversy’, Shakespeare Bulletin 31 (2013), 431–52.CrossRefGoogle Scholar
Frye, N., A Natural Perspective. The Development of Shakespearean Comedy and Romance (New York: Columbia University Press, 1965).Google Scholar
González Campos, M. Á., ‘An isle full of noises, sounds and sweer airs: Shakespeare's The Tempest and Krzysztof Kieslowski's Red’, Sederi VII (1996), 265268: http://sederi.org/docs/yearbooks/07/7_32_gonzalez.pdf.Google Scholar
Gossett, S. (ed.), Pericles, The Arden Shakespeare (London: Thomson Learning, 2004).Google Scholar
Harris, D. and MacDonald, J., ‘Stormy Weather: Derek Jarman's The Tempest’, Literature/Film Quarterly 25 (1997), 90–8.Google Scholar
Holland, P, ‘Magical Realism: Raising Storms and Other Quaint Devices’, in Bigliazzi, S. and Calvi, L. (eds.), Revisiting ‘The Tempest’: The Capacity to Signify (Basingstoke and New York: Palgrave Macmillan, 2014), 185201.CrossRefGoogle Scholar
Hopkins, L., Shakespeare's The Tempest: The Relationship between Text and Film (London: Methuen Drama, 2008).Google Scholar
Jackson, R., ‘Shakespeare's Comedies on Film’, in Davies, A. and Wells, S. (eds.), Shakespeare and the Moving Image: The Plays on Film and Television (Cambridge: Cambridge University Press, 1994), 99120.Google Scholar
Jackson, R.. ‘Three Auteurs and the Theatre: Carné, Renoir and Rivette’, in his Theatres on Film: How the Cinema Imagines the Stage (Manchester and New York: Manchester University Press, 2013), 221–68.Google Scholar
Jarman, D., Dancing Ledge (London: Quartet Books, 1984).Google Scholar
Lanier, D., ‘Drowning the Book: Prospero's Books and the Textual Shakespeare’, in Bulman, J. C. (ed.), Shakespeare, Theory, and Performance (London and New York: Routledge, 1996), 187209.CrossRefGoogle Scholar
Lehmann, C., ‘“Turn off the dark”: A Tale of Two Shakespeares in Julie Taymor's Tempest’, Shakespeare Bulletin 32 (2014), 4564.CrossRefGoogle Scholar
MacCabe, C., The Eloquence of the Vulgar: Language, Cinema and the Politics of Culture (London: British Film Institute, 1999).Google Scholar
McMullan, G., Shakespeare and the Idea of Late Writing: Authorship in the Proximity of Death (Cambridge University Press, 2007).CrossRefGoogle Scholar
McMullan, G.. ‘What Is a “Late Play”?’, in Alexander, C. M. S. (ed.), The Cambridge Companion to Shakespeare's Last Plays (Cambridge: Cambridge University Press, 2009), 528.CrossRefGoogle Scholar
Morrey, D. and Smith, A., Jacques Rivette (Manchester: Manchester University Press, 2009).Google Scholar
Nelsen, P., ‘Shot from the Canon: The BBC Video of Pericles’, in Skeele, D. (ed.) ‘Pericles’: Critical Essays (New York and London: Garland-Taylor and Francis, 2000), 297324.Google Scholar
Osborne, L., ‘Mixing Media and Animating Shakespeare Tales’, in Burt, R. and Boose, L. E. (eds.), Shakespeare, the Movie, II: Popularizing the Plays on Film, TV, Video, and DVD (London and New York: Routledge, 2003), 140–53.Google Scholar
Peyré, Y., ‘Introduction’, in Déprats, J.-M. and Venet, G. (eds.), Shakespeare. Comédies, vol. III, Bibliothèque de la Pléiade (Paris: Gallimard, 2016), xxxxiv.Google Scholar
Prescott, P. and Sullivan, E., Shakespeare on the Global Stage. Performance and Festivity in the Olympic Year (London: Bloomsbury, 2015).CrossRefGoogle Scholar
Renes, C. M., ‘Whose New World? Derek Jarman's Subversive Vision of The Tempest (1979)’. BELLS: Barcelona English Language and Literature Studies 17 (2008), www.publicacions.ub.edu/revistes/bells17/documentos/582.pdf.Google Scholar
Rothwell, K. S., A History of Shakespeare on Screen: A Century of Film and Television, 2nd edition (Cambridge: Cambridge University Press, 2004).Google Scholar
Ryle, S., Shakespeare, Cinema and Desire: Adaptation and Other Futures of Shakespeare's Language (New York and Basingstoke: Palgrave Macmillan, 2014).CrossRefGoogle Scholar
Simmon, S., The Invention of the Western Film. A Cultural History of the Genre's First Half-Century (Cambridge: Cambridge University Press, 2003), 268.Google Scholar
Taymor, J., ‘Rough Magic’, in Carson, S. (ed.), Living with Shakespeare: Essays by Writers, Actors, and Directors (New York: Vintage Books, 2013), 466–82.Google Scholar
Thorne, A. (ed.), Shakespeare's Romances, New Casebook (Houndmills, Basingstoke: Palgrave Macmillan, 2003).CrossRefGoogle Scholar
Tribble, E., ‘Listening to Prospero's Books’, Shakespeare Survey 61 (2008), 161–9.Google Scholar
Vaughan, V. M., ‘“Miranda, Where's Your Mother?”: Female Prosperos and What They Tell Us’, in McMullan, G., Orlin, L. Cowen and Vaughan, V. M. (eds.), Women Making Shakespeare: Text, Reception, Performance (London and New York: Bloomsbury, 2014), 347–56.Google Scholar
Walker, E. M., ‘The Aesthetic Construction of Musical Forms in Prospero's Books’, in Stalpaert, C. (ed.), Peter Greenaway's ‘Prospero's Books’: Critical Essays (Ghent: Academia Press, 2000), 161–79.Google Scholar
Wiles, M. M., Jacques Rivette (Urbana: University of Illinois Press, 2013).Google Scholar
Willems, M., ‘Entretien avec Jane Howell, réalisatrice de la première tétralogie, de The Winter's Tale et de Titus Andronicus, in Willems, M. (ed.), Shakespeare à la télévision (Rouen: Publications de l'Université de Rouen, 1987), 7991.Google Scholar
Willems, M. and Maquerlot, J.-P., ‘Entretien avec David Jones, réalisateur de The Merry Wives of Windsor et de Pericles’, in Willems, M. (ed.), Shakespeare à la télévision (Rouen: Publications de l'Université de Rouen, 1987), 31–9.Google Scholar
Willoquet-Maricondi, P., ‘Prospero's Books, Postmodernism, and the Reenchantment of the World’, in Willoquet-Maricondi, P. and Alemany-Galway, M. (eds.), Peter Greenaway's Postmodern/Poststructuralist Cinema (Lanham: Scarecrow Press, 2008), 177201.Google Scholar
Zabus, C., Tempests after Shakespeare (New York and Basingstoke: Palgrave, 2002).CrossRefGoogle 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
×