Framing Shakespeare on Film
The aesthetics of frame theory form the basis of Framing Shakespeare on Film. This groundbreaking work expands on the discussion of film constructivists in its claim that the spectacle of Shakespeare on film is a problem-solving activity.
Kathy Howlett demonstrates convincingly how viewers' expectations for understanding Shakespeare on film can be manipulated by the director's cinematic technique. Emphasizing that the successful film can transform Shakespeare's text while remaining rooted in Shakespearean conceptions, Howlett raises the question of how directors and audiences understand the genre of Shakespeare on film and reveals how the medium alters the patterns through which the audience views Shakespeare.
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Kenneth Branagh directs Michael Mal
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actors ambiguity audience audience's body boundaries Branagh Branagh's film camera Carpaccio's paintings Castle Hill Productions character Chimes at Midnight cinematic frame context Courtesy of Castle critics cultural David Appleby death Desdemona ence experience Falstaff figure film Western film's gaze genre Gibson's Henry Henry's hero's Hidetora Hodgdon Hollywood Iago Iago's identity ideological imagined Joe Harper Joe Harper's Kenneth Branagh king Kurosawa Lady Kaede landscape Laura Mulvey Line Cinema Loncraine MacLiammoir male masculine Midwinter's Tale movement murder myth narrative objects observes Olivier's Ophelia's Orson past performance perspective Peter Donaldson play's popular Private Idaho relationship representation reveals Richard Richard III ritual Roderigo role samurai Sant's film sexual Shakespeare films Shakespeare on film Shakespeare's drama Shakespeare's Hamlet Shakespeare's play shot social space spatial spectacle spectator suggests theater theatrical tion transformation underscores University Press Ursula utopian Venetian viewer violence visual voyeuristic Welles's film Welles's Othello Western genre Zeffirelli's film Zeffirelli's Hamlet