Download book Screen Adaptations: Hamlet : The Relationship Between Text and Film by Samuel Crowl TXT, DJV, PDF
9781408129555 1408129558 """Hamlet" is Shakespeare's signature work, the most often produced play in the western literary canon, and a fertile global source for film adaptation. This study seeks to understand a variety of cinematic approaches to translating Shakespeare's "words, words, words" into film's particular grammar and rhetoric. Samuel Crowl, a noted scholar of Shakespeare on film, focuses on the importance of the screenplay, film score, setting, cinematography and editing as the director and his team find their unique way of adapting Shakespeare from text to screen. Crowl concentrates on two sharply contrasting film versions of "Hamlet" by Laurence Olivier (1948) and Kenneth Branagh (1996). Those films are placed in their particular post World War II and post Cold War political and cultural contexts and explored to reveal how those contexts shaped the aesthetic choices made by their directors and stars. Olivier and Branagh are two crucial figures in the history of film adaptations of Shakespeare. Olivier's "Hamlet" is the only film version of a Shakespeare play to win the Academy Award for Best Picture, and Branagh led the revival of Shakespeare on film in the 1990s and has directed more Shakespeare films, five, than any other director in the history of the genre. Their "Hamlet" films influenced those which followed and this book traces that influence through subsequent "Hamlet" films made by directors in Germany, Russia, Italy, Japan, and China as well as by those in England and America. Crowl's "Hamlet "volume joins others in the Screen Adaptationsseries devoted to "The Tempest," " King Lear," and" Romeo and Juliet.", Hamlet is Shakespeare#146;s signature work, the most often produced play in the western literary canon, and a fertile global source for film adaptation. This study seeks to understand a variety of cinematic approaches to translating Shakespeare#146;s "words, words, words" into film#146;s particular grammar and rhetoric. Samuel Crowl, a noted scholar of Shakespeare on film, focuses on the importance of the screenplay, film score, setting, cinematography and editing as the director and his team find their unique way of adapting Shakespeare from text to screen. Crowl concentrates on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). Those films are placed in their particular post World War II and post Cold War political and cultural contexts and explored to reveal how those contexts shaped the aesthetic choices made by their directors and stars. Olivier and Branagh are two crucial figures in the history of film adaptations of Shakespeare. Olivier#146;s Hamlet is the only film version of a Shakespeare play to win the Academy Award for Best Picture, and Branagh led the revival of Shakespeare on film in the 1990s and has directed more Shakespeare films, five, than any other director in the history of the genre. Their Hamlet films influenced those which followed and this book traces that influence through subsequent Hamlet films made by directors in Germany, Russia, Italy, Japan, and China as well as by those in England and America. Crowl#146;s Hamlet volume joins others in the Screen Adaptations series devoted to The Tempest , King Lear , and Romeo and Juliet ., Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films' socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare's "words, words, words" into film's particular grammar and rhetoric
9781408129555 1408129558 """Hamlet" is Shakespeare's signature work, the most often produced play in the western literary canon, and a fertile global source for film adaptation. This study seeks to understand a variety of cinematic approaches to translating Shakespeare's "words, words, words" into film's particular grammar and rhetoric. Samuel Crowl, a noted scholar of Shakespeare on film, focuses on the importance of the screenplay, film score, setting, cinematography and editing as the director and his team find their unique way of adapting Shakespeare from text to screen. Crowl concentrates on two sharply contrasting film versions of "Hamlet" by Laurence Olivier (1948) and Kenneth Branagh (1996). Those films are placed in their particular post World War II and post Cold War political and cultural contexts and explored to reveal how those contexts shaped the aesthetic choices made by their directors and stars. Olivier and Branagh are two crucial figures in the history of film adaptations of Shakespeare. Olivier's "Hamlet" is the only film version of a Shakespeare play to win the Academy Award for Best Picture, and Branagh led the revival of Shakespeare on film in the 1990s and has directed more Shakespeare films, five, than any other director in the history of the genre. Their "Hamlet" films influenced those which followed and this book traces that influence through subsequent "Hamlet" films made by directors in Germany, Russia, Italy, Japan, and China as well as by those in England and America. Crowl's "Hamlet "volume joins others in the Screen Adaptationsseries devoted to "The Tempest," " King Lear," and" Romeo and Juliet.", Hamlet is Shakespeare#146;s signature work, the most often produced play in the western literary canon, and a fertile global source for film adaptation. This study seeks to understand a variety of cinematic approaches to translating Shakespeare#146;s "words, words, words" into film#146;s particular grammar and rhetoric. Samuel Crowl, a noted scholar of Shakespeare on film, focuses on the importance of the screenplay, film score, setting, cinematography and editing as the director and his team find their unique way of adapting Shakespeare from text to screen. Crowl concentrates on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). Those films are placed in their particular post World War II and post Cold War political and cultural contexts and explored to reveal how those contexts shaped the aesthetic choices made by their directors and stars. Olivier and Branagh are two crucial figures in the history of film adaptations of Shakespeare. Olivier#146;s Hamlet is the only film version of a Shakespeare play to win the Academy Award for Best Picture, and Branagh led the revival of Shakespeare on film in the 1990s and has directed more Shakespeare films, five, than any other director in the history of the genre. Their Hamlet films influenced those which followed and this book traces that influence through subsequent Hamlet films made by directors in Germany, Russia, Italy, Japan, and China as well as by those in England and America. Crowl#146;s Hamlet volume joins others in the Screen Adaptations series devoted to The Tempest , King Lear , and Romeo and Juliet ., Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films' socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare's "words, words, words" into film's particular grammar and rhetoric