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Returns are shipped at the customer's risk. However, as Richard Burt, in the last chapter of the volume, succinctly puts it, there seems to be a growing gap between Shakespeare films and Shakespeare scholarship: "mass culture narratives rely on dated scholarship: they view the writings as timeless monuments, as literary texts in which Shakespeare was working toward a final draft, rather than as thriving, continuing sites of cultural production and revision" It is this central contradiction within what has now become a mainstream academic discipline that could have been more prominently addressed throughout the volume; instead, the editors opt for a more timely theme and, in hindsight, this might have been a mistake.
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Although there are laudable attempts to unite the volume by cross-referencing chapters, the repeated, seemingly obligatory remark, "as the late 20th century draws to a close" 95 becomes somewhat tedious after a while and the references to the millennium often obscure the sense of the chapters. This is the case in Judith Buchanan's admirable assessment of Oliver Parker's representation of otherness in Othello "Virgin and Ape, Venetial and Infidel: Labellings of Otherness in Oliver Parker's Othello " ; references to the millennium seems to be tagged on in an effort to appease the editors.
Similarly, sentences attempting to link various chapters often appear to be parachuted in. Burt has sought to expand the shelf-life of his multi-volume work by having detailed discussion of a particular medium of popular culture, followed by a bibliography, discography etc. This can be seen in works such as Kenneth S.
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Scholarship of Shakespeare on TV focuses on adaptations of the plays rather than TV as a medium for exploring Shakespeare. She argues that Shakespeare was televised in play form since it was inherently better fitted to technology and more affordable than, for instance, the mini-series. Could the historically greater percentage of televised plays explain their disproportionate representation in the literature on Shakespeare and television?
It is doubtful, since other forms including documentaries one of which, Shakespeare and Shoreditch was screened alongside a Scene from Shakespeare to inaugurate BBC television broadcasting in have also been there since the beginning. More likely, it represents a slow-changing consensus on what counts as Shakespeare on television informed by an old-fashioned criterion of equivalence to pre-existing media such as full-scale theatrical productions or radio plays.
Yet the contents of his own collection of essays Visual Shakespeares is concentrated on productions rather than adaptations. Thirdly, where Shakespeare on television is studied outside of the plays in adaptation, it has been dominated by documentaries on his life, the history of the period, archaeology e.
The Shakespearean films of the 90s: Afterlives in transmedia in the 21st century
A significant genre which has attracted a sizeable amount of critical discussion consists of programmes focusing on back-stage events, rehearsal technique and the process of putting on a production. This may involve working with professional actors, see the series Playing Shakespeare — Cary M. However, in the sense that each of the three series or seasons deals with the company working on a different play-text, Hamlet, Macbeth and King Lear , it is as plays-focussed as the real documentaries on staging Shakespeare.
Harder to find are publications which analyse examples of television where Shakespeare is appropriated incidentally i. Far wider in scope than previous work, it takes in phenomena from Shakespeare-derived self-help books to content generated by the public such as play-based fan fiction. However, it cannot communicate a sense of the way television in the twenty-first century is casually saturated with Shakespeare. Nor does this body of work currently have the same physical presence of the monographs and collected essays given to Shakespeare on film, for example.
Rather, such items tend to be dispersed around the library physical or electronic in individual chapters and journal articles.
These statements fail to take into account that the bard features as a person, a myth, a quotation, in myriad, often hugely popular, programs: drama, documentary, mocumentary, quiz shows and satire. His presence on the small screen may not steal the show, but as a figure or a fistful of phrases he is part of the texture of daily life in Britain and beyond: a reality which writing on Shakespeare in television seems set slowly but increasingly to reflect. English in Education. Aebischer, Pascale.
Bulman, James and Herb Coursen. Burnett, Mark Thornton. Burnett, Mark Thornton and Adrian Streete, eds.
Shakespeare, Film, Fin de Siecle
Burt, Richard ed. Burt, Richard. Richard Burt and Lynda E.