Shakespeare on Film & Video:
Books and Articles in the UC Berkeley Library

General Works

Articles/Books About Individual Plays

General Works

"Adaptation and the literary film."
Screen;SO: Vol.XLIII nr.1 (Spring 2002); p.1-73
"A special section on film adaptation. From very different points of view, the essays presented in this section suggest possible approaches to issues of language and figuration, as well as issues of history, memory, and the national past, which can be more articulated than in traditional critical writing on adaptation. The writers base their discussions on the analysis of movies within their specific signifying practices, and their historical and national contexts. In doing so, they begin to draw a more detailed map of this landscape and to trace new and productive ways of reconnecting cinema and literature. Articles examine adaptations of literary works in Martin Scorsese's and Terence Davies's The Age of Innocence and The House of Mirth, respectively; two Indian adaptations of William Shakespeare's Hamlet; the particular performances of female movie stars Emma Thompson, Kate Winslet, and Gwyneth Paltrow; and the reception of Claire Denis's movie, Beau Travail, as a loose adaptation of Herman Melville 1891 novella, Billy Budd, Sailor." [Art Index]

Aebischer, Pascale
Shakespeare's violated bodies : stage and screen performance Cambridge, U.K. ; New York : Cambridge University Press, 2004.
MAIN: PR3069.B58 A68 2004
Table of contents http://www.loc.gov/catdir/toc/cam032/2003055765.html

Albanese, Denise
"The Shakespeare film and the Americanization of culture." In: Marxist Shakespeares / edited by Jean E. Howard and Scott Cutler Shershow. London ; New York : Routledge, 2001. Accents on Shakespeare.
Main Stack PR3024.M39 2001

Aldama, Frederick Luis.
"Race, cognition, and emotion: Shakespeare on film." College Literature 33.1 (Wntr 2006): 197(17).
UC users only

Almost Shakespeare: reinventing his works for cinema and television
Edited by James R. Keller and Leslie Stratyner. Jefferson, N.C. : McFarland & Co., c2004.
MAIN: PR3093 .A46 2004
PFA : PR3093 .A46 2004
Contents: Introduction / James R. Keller and Leslie Stratyner -- The politics of culture : the play's the thing / Patrick Finn -- Imitation as originality in Gus van Sant's My own private Idaho / Andrew Barnaby -- Shakespeare transposed : the British stage on the post-colonial screen / Parmita Kapadia -- Suture, Shakespeare, and race, or, What is our cultural debt to the bard? / Ayanna Thompson -- Cinema in the round : self-reflexivity in Tim Blake Nelson's O / Eric C. Brown -- Sex, lies, videotape-and Othello / R.S. White -- The time is out of joint : Withnail and I and historical melancholia, or, Camberwell carrots and Shakespeare / Aaron Kelly and David Salter -- Horatio : the first CSI / Jody Malcolm -- Teen scenes : recognizing Shakespeare in teen film / Ariane M. Balizet -- An aweful rule : safe schools, hard canons, and Shakespeare's loose heirs / Melissa J. Jones -- Prospero's pharmacy : Peter Greenaway and the critics play Shakespeare's mimetic game / Dan DeWeese -- Shakespeare film and television derivatives : a bibliography / Jose Ramon Diaz Fernandez.

Anderegg, Michael A.
Cinematic Shakespeare Lanham : Rowman & Littlefield, c2004.
MAIN: PR3093 .A525 2004

Anderegg, Michael A.
Orson Welles, Shakespeare, and popular culture / Michael Anderegg. New York: Columbia University Press, c1999. Series title: Film and culture.
UCB Main PR3093 .A53 1999
Contents via Google books

Anderegg, Michael A.
"Welles/Shakespeare/film: an overview." Film adaptation / edited and with an introduction by James Naremore.p. 154-71 New Brunswick, N.J. : Rutgers University Press, c2000. Rutgers depth of field series.
Main Stack PN1997.85.F55 2000

Ball, Robert Hamilton
"The Shakespeare Film as Record: : Sir Herbert Beerbohm Tree." Shakespeare Quarterly 3:3 (1952:July) 227
UC users only

Ball, Robert Hamilton
"Shakespeare in One Reel." The Quarterly of Film Radio and Television, Vol. 8, No. 2. (Winter, 1953), pp. 139-149.
UC users only

Ball, Robert Hamilton
Shakespeare on Silent Film; a Strange Eventful History. New York, Theater Arts Books [1968].
UCB Moffitt PR3093 .B3 1968

Ball, Robert Hamilton
Shakespeare on Silent Film: A Strange Eventful History. London, Allen & Unwin, 1968.
UCB Main PR3093 .B3 1968

Barber, Lester E.
"This Rough Magic: Shakespeare on Film", Literature Film Quarterly, n. 1, 1973, pp. 372-376

Bowman, James.
"Bard to Death." (film adaptations of the works of William Shakespeare) American Spectator v29, n3 (March, 1996):58 (2 pages).

Bristol, Michael D.
Big-time Shakespeare / Michael D. Bristol. London ; New York : Routledge, 1996.
Main Stack PR2976.B658 1996
Contents via Google Books

Brode, Douglas
Shakespeare in the movies: from the silent era to Shakespeare in love / Douglas Brode. Oxford: Oxford University Press, 2000.
Main Stack PR3093.B76 2000

Buchman, Lorne Michael.
Still in Movement: Shakespeare on Screen / Lorne M. Buchman. New York:Oxford University Press, 1991.
UCB Main PR3093 .B8 1991
UCB Moffitt PR3093 .B8 1991

Buhler, Stephen M.
"Antic Dispositions: Shakespeare and Steve Martin's L. A. Story." Shakespeare Yearbook, 1997, 8, 212-29.

Buhler, Stephen M.
Shakespeare in the cinema : ocular proof / Stephen M. Buhler. Albany: State University of New York Press, c2002. SUNY series, cultural studies in cinema/video.
UCB Main PR3093.B84 2002
Contens via Google Books

Buhler, Stephen M.
"Text, Eyes, and Videotape: Screening Shakespeare Scripts." Shakespeare Quarterly, vol. 46 no. 2. 1995 Summer. pp: 236-44.

Bulman, James C.
"The BBC Shakespeare and "House Style."" Shakespeare Quarterly, Vol. 35, No. 5, Special Issue:Teaching Shakespeare. (1984), pp. 571-581.
(UC Berkeley users only)

Bulman, J.C. and H.R. Coursen.
Shakespeare on Television: An Anthology of Essays and Reviews. Hanover: University Press of New England,1988.
UCB Main PR3093 .S54 1988
UCB Moffitt PR3093 .S54 1988

Burnett, Mark Thornton.
Filming Shakespeare in the global marketplace Basingstoke [England] ; New York : Palgrave Macmillan, 2007.
MAIN: PR3093 .B87 2007; View current status of this item
Table of contents http://www.loc.gov/catdir/enhancements/fy0727/2006050833-t.html

Burt, Richard.
"The Love That Dare Not Speak Shakespeare's Name: New Shakesqueer Cinema." In: Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video/ edited by Lynda E. Boose, Richard Burt. pp: 240-68. London; New York: Routledge, 1997.
Main Stack PR3093.S545 1997

Burt, Richard
"Slammin' Shakespeare in Acc(id)ents Yet Unknown: Liveness, Cinem(edi)a, and RacialDis-Integration." Shakespeare Quarterly. 53(2):201-26. 2002 Summer
UC users only

The Cambridge companion to Shakespeare on film
Cambridge, U.K.; New York: Cambridge University Press, 2000.
MAIN: PR3093 .C36 2000
Contents via Google Books

Camp, Gerald M.
"Shakespeare on Film." Journal of Aesthetic Education 3:1 (1969:Jan.) 107

Cartmell, Deborah.
Interpreting Shakespeare on screen / Deborah Cartmell. Houndmills, Basingstoke, Hampshire : Macmillan, 2000.
Main Stack PR3093.C37 2000
Contents via Google Books

Charnes, Linda.
"Dismember Me: Shakespeare, Paranoia, and the Logic of Mass Culture."Shakespeare Quarterly, vol. 48 no. 1. 1997.pp: 1-16.

Chedgzoy, Kate.
Shakespeare's Queer Children: Sexual Politics and Contemporary Culture / Kate Chedgzoy. Manchester; New York: Manchester University Press; New York: Distributed exclusively in the USA and Canada by St. Martin's Press, 1995.
Main Stack PR3024.C48 1995

Clayton, Bertram.
"Shakespeare and the Talkies" The English Review, n. 49, 1929

Collick, John.
Shakespeare, Cinema, and Society / John Collick. Manchester; New York: Manchester University Press; New York: Distributed in the USA and Canada by St. Martin's Press, c1989. Series title: Cultural politics.
UCB Main PR3093 .C641 1989
UCB Moffitt PR3093 C64 1989

Combs, Richard; Durgnat, Raymond
"Shakespeare: a chaos theory." Film Comment v 37 no4 July/Aug 2001. p. 56-61
UC users only
"The writers discuss modern film adaptations of William Shakespeare's plays. Contemporary interpretations of Shakespeare always appear to to contain an element of parody. This parody, explicit or implicit, is part of the message, the zeitgeist, the problem of perspective that each of these adaptations has to tackle: Four centuries of worship have positioned Shakespeare as the preeminent creative force of English literature and have dustily confined him to the classroom as far as a modern young cinema audience is concerned. Al Pacino credits Kenneth Branagh's 1989 Henry V with transforming the market for Shakepeare, but it was 1998's Shakepeare in Love that made the author a star." [Art Index]

A concise companion to Shakespeare on screen
Edited by Diana E. Henderson. Malden, MA : Blackwell Pub., 2006.
MAIN: PR3093 .C65 2006
MOFF: PR3093 .C65 2006; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip059/2005006592.html

Cook, Hardy M.
"Jane Howell's BBC First Tetralogy: Theatrical and Televisual Manipulation." (British Broadcasting Corp.) (Shakespeare - Film &Television) Literature-Film Quarterly v20, n4 (Oct, 1992):326 (6 pages).
UC users only

Cooke-Jess, Carolyn.
""The promised end" of cinema: portraits of cinematic apocalypse in 21st century Shakespearean cinema.(William Shakespeare)." Literature-Film Quarterly 34.2 (April 2006): 161(8).
UC users only

Corliss, Richard.
"Suddenly Shakespeare." (new movies based on works by William Shakespeare) Time v148, n21 (Nov 4, 1996):88 (3 pages).

Coursen, Herbert R.
Shakespeare in production: whose history? / by H.R. Coursen. Athens: Ohio University Press, 1996.
UCB Main PR3091 .C675 1996

Coursen, Herbert R.
Shakespeare in space: recent Shakespeare productions on screen / H.R. Coursen New York: Peter Lang, c2002. Studies in Shakespeare; vol. 14
Main Stack PR3093.C67 2002

Coursen, Herbert R.
Shakespearean Performance as Interpretation / H.R. Coursen. Newark: University of Delaware Press; London: Cranbury, NJ: Associated University Presses, c1992.
UCB Main PR3091 .C68 1992

Coursen, Herbert R.
Shakespeare: the two traditions / H.R. Coursen. Madison [N.J.]: Fairleigh Dickinson University Press, c1999.
UCB Main PR3100 .C68 1999

Coursen, Herbert R.
Shakespeare translated : derivatives on film and TV New York : Peter Lang, c2005.
MAIN: PR3093 .C675 2005
Table of contents http://www.loc.gov/catdir/toc/ecip054/2004027476.html

Coursen, Herbert R.
Teaching Shakespeare with film and television: a guide / H.R. Coursen. Westport, Conn.: Greenwood Press, 1997.
UCB Main PR2987 .C68 1997

Coursen, Herbert R.
Watching Shakespeare on Television / H.R. Coursen. Rutherford [N.J.]: Fairleigh Dickinson University Press; London; Cranbury, NJ: Associated University Presses, c1993.
UCB Main PR3093 .C68 1993
Contents via Google Books

Crowdus, Gary
"Shakespeare is up to date: an interview with Sir IanMcKellan." Cineaste v24, n1 (Winter,1998):46 (2 pages).
UC users only
"Part of a special section on film adaptations of plays by William Shakespeare. An interview with Shakespearean actor Sir Ian McKellen. McKellen, who has enacted many of the major Shakespearean roles, has long been known as an advocate of updating the playwright's work. In the interview, he discusses a range of topics regarding the adaptation of Shakespeare for the screen, including his 1995 film adaptation Richard III, the choice of seasoned Shakespearean actors for Richard III because they can deliver the lines with the rhythm of contemporary speech, and his appreciation of Baz Luhrmann's William Shakespeare's Romeo and Juliet because it was a film rather than a filmed play." [Art Index]

Crowdus, Gary
"Sharing an enthusiasm for Shakespeare: an interview withKenneth Branagh." Cineaste v24, n1 (Winter, 1998):34 (8 pages).
UC users only
"Part of a special section on film adaptations of plays by William Shakespeare. An interview with actor and filmmaker Kenneth Branagh. If any one filmmaker can be considered to be responsible for the current renaissance of film production of plays by Shakespeare, it is Branagh. Branagh discusses several topics in the interview, including his feeling that filming Hamlet invited a more strongly interpretive approach to the central character's inner life than he would take in the theater, his experience that the delivery of rhyming text requires a lightness of touch that is achieved a little more easily in cinema than in the theater, and his experience of being directed in Oliver Parker's Othello." [Art Index]

Crowdus, Gary.
"Words, words, words: recent Shakespearean films."Cineaste v23, n4 (Fall, 1998):13 (7 pages).
UC users only
"Recent Shakespearean films are discussed. The main challenge facing any filmmaker adapting Shakespeare is how to deal with the language, through which he delighted popular audiences with his poetic gifts and playful use of words. The usual response is to cut it, but what is more relevant than what is removed is the particular interpretation of the material that results, as well as the creative decisions made in performance and presentation. Being layered with complexities and ambiguities, the plays lend themselves to varying interpretations and meanings, and, although most filmmakers would be nervous about adding words to Shakespeare, there is no resistance to adding visual imagery to compensate for cuts or to embellish a particular interpretation. The writer goes on to discuss Oliver Parker's Othello, Baz Luhrmann's William Shakespeare's Romeo + Juliet, Al Pacino's Looking for Richard, Kenneth Branagh's Hamlet, and Trevor Nunn's Twelfth Night, or What You Will." [Art Index]

Crowl, Samuel.
"Communicating Shakespeare: An Interview with Kenneth Branagh." Shakespeare Bulletin: a Journal of Performance Criticism & Scholarship. 20(3):24-28. 2002 Summer

Crowl, Samuel.
Shakespeare at the cineplex : the Kenneth Branagh era Athens : Ohio University Press, c2003.
MAIN: PR3093 .C75 2003
MOFF: PR3093 .C75 2003;

Crowl, Samuel.
Shakespeare observed: studies in performance on stage and screen / Samuel Crowl. Athens : Ohio University Press, c1992.
Main Stack PR3093.C76 1992

Davies, Anthony
Filming Shakespeare's Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook, and Akira Kurosawa / Anthony Davies. Cambridge [Cambridgshire]; New York: Cambridge University Press, 1988.
UCB Main PR3093 .D381 1988
UCB Moffitt PR3093 D38 1988
Contents via Google books
Contens via Google Books

Daileader, Celia R.
"Nude Shakespeare in film and nineties popular feminism." In: Shakespeare and sexuality / edited by Catherine M.S. Alexander, Stanley Wells. Cambridge, U.K. ; New York : Cambridge University Press, 2001.
Main Stack PR3069.S45.S53 2001

Daz-Fernandez, Jose Ramon.
"Shakespeare on screen: a bibliography of critical studies." Post Script (17:1) 1997, 91-146.
UC users only

Daz-Fernandez, Joso Ramon.
"Orson Welles's Shakespeare Films: An Annotated Checklist." Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship, vol. 23, no. 1, pp. 113-36, Spring 2005.

De, Esha Niyogi
"Modern Shakespeares in popular Bombay cinema: translation, subjectivity and community." Screen v. 43 no. 1 (Spring 2002) p. 19-40
"Part of a special section on film adaptation. Two Urdu adaptations of British Shakespearean works produced in the late-colonial and early-independence periods in India generated a hybrid art of filmmaking. The movies in question are Sohrab Modi's 1935 Hamlet alias Khoon ka Khoon, which was an adaptation of contemporary British stage productions of the eponymous play, and Kishore Sahu's 1954 Hamlet, which was a shot-by-shot reproduction of Laurence Olivier's 1948 eponymous adaptation. Their makers obviously copied the British sources and profited from the desire inculcated in English-educated producers and consumers to amass cultural capital, but they also interwove traditional narrative and cinematic techniques in these imitations. A "reflexive awareness" of the commonalities between the respective conceptual frameworks, and of their incommensurable differences, resulted from the filmmakers' efforts to reconcile contrasting worldviews, creating a hybrid of European texts as well as of the very notion of translation as the derivation of European models." [Art Index]

Dixon, Wheeler.
"The 'Performing Self' in Filmed Shakespearean Drama." Shakespeare Bulletin 5, no. 4 (1987): 18-19.
Suggests that alhough there is something lost in any filmic translation of a stage drama, there is also something to be gained--a final formalizing of the actor-audience relationship. Discusses, for example, Laurence Olivier's Richard III, Hamlet, and Henry V; Orson Welles's Macbeth; Roman Polanski's Macbeth; Stuart Burge's Julius Caesar; Robert Burton's and Nicol Williamson's Hamlet; and Peter Brook's King Lear

Donaldson, Peter Samuel
"'All which it inherit': Shakespeare, globes and global media." Shakespeare survey 52. Cambridge Univ. Press, 1999. p. 183-200.

Donaldson, Peter Samuel
Shakespearean Films/Shakespearean Directors / Peter S. Donaldson.Boston: Unwin Hyman, 1990.Series title: Media and popular culture
UCB Main PR3093 .D66 1990
UCB Moffitt PR3093 .D66 1990

Eckert, Charles W.
Focus on Shakespearean Films. Edited by Charles W. Eckert. EnglewoodCliffs, N.J., Prentice-Hall [1972]. Series title: Film focus. Series title: A Spectrum book.
UCB Moffitt PR3093 .E3

Fedderson, Kim; Richardson, J. Michael.
"Praising and Burying the Bard: Epideictic Dilemmas in Recent Adaptationsof Shakespeare." In: Relocating praise: literary modalities and rhetorical contexts / edited by Alice G. den Otter. pp: 119-27. Toronto: Canadian Scholars' Press, 2000.
Main Stack PN80.5.R44 2000

"Film adaptations of Shakespeare's works."(Editorial) Cineaste v24, n1 (Winter, 1998):1 (1 page).
The film industry's renewed interest in Shakespeare returns his works tothe masses. Although Shakespeare had been an important part of popularculture during his own time, as well as in 18th- and 19th-century America,socioeconomic factors combined to transform him in the late 1900s into aelitist cultural figure whose works were shown only in 'legitimate'theaters and seen only by the upper class. The recent slew of filmadaptations of Shakespeare provides an opportunity for ordinary people toappreciate his plays.

Fisher, Bob.
"Tragedy of Epic Proportions." American Cinematographer v. 78 (Jan. '97) p. 58-60+.

French, Emma.
Selling Shakespeare to Hollywood : the marketing of filmed Shakespeare adaptations from 1989 into the new millennium Hatfield [England] : University of Hertfordshire Press, 2006.
MAIN: PN1995.9.M29 F74 2006

Gates, David.
"Shakespeare: Dead White Male of the Year."(continuing popularity of theworks of William Shakespeare) Newsweek v128, n27 (Dec 30, 1996):82 (6 pages).
The study of Shakespeare has been dropped from many school curriculums, buthis popularity continues virtually unabated and his works continue to beproduced around the world. For example, in New York City before Christmas1996 three new Shakespeare films were showing, with another to open onChristmas.

Gielgud, John, Sir
Shakespeare: Hit or Miss? / John Gielgud with John Miller. London:Sidgwick & Jackson, 1991.
UCB Moffitt PN2598.G45 A3 1991

Gillespie, David
"Adapting foreign classics : Kozintsev's Shakespeare." In: Russian and Soviet film adaptations of literature, 1900-2001 : screening the word / edited by Stephen Hutchings and Anat Vernitski. London ; New York : RoutledgeCurzon, 2005.
Main Stack PN1997.85.F437 2005

Griffin, Alice
"Shakespeare Through the Camera's Eye: III Shakespeare Quarterly, Vol. 7, No. 2. (Spring, 1956), pp.235-240. (Berkeley users only)

Griffin, Alice
"Shakespeare through the Camera's Eye: IV." Alice V. GriffinShakespeare Quarterly, Vol. 17, No. 4. (Autumn, 1966), pp.383-387.
(Berkeley users only)

Griffin, Alice
"Shakespeare Through the Camera's Eye--Julius Caesar in Motion Pictures; Hamlet and Othello on Television." Shakespeare Quarterly, Vol. 4, No. 3. (Jul., 1953), pp.331-336. (Berkeley users only)

Gronsky, Daniel
"Shakespeare in Translation: Foreign Film Versions of Shakespeare's Plays." Film International # 11 / 2004:5

Hamilton Ball, Robert
"On Shakespeare Filmography" Literature/Film Quarterly 1:4 (1973:Fall) 299

Hardison, O. B.
"Shakespeare on Film: The Developing Canon." PCLS, vol. 12. 1981. pp: 131-145.

Hirsch, Foster.
Laurence Olivier / Foster Hirsch. Boston: Twayne Publishers, 1979. Series title: Twayne's theatrical arts series.
UCB Main PN2598.O55 .H5
UCB Moffitt PN2598.O55 .H5

Hatchuel, Sarah.
Shakespeare : from stage to screen Cambridge, UK ; New York : Cambridge University Press, 2004.
MAIN: PR3093 .H37 2004
PFA : PR3093 .H37 2004
Contents via Google Books

Holderness, Graham.
"Radical potentiality and institutional closure: Shakespeare in film and television." In: Political Shakespeare: essays in cultural materialism / edited by Jonathan Dollimore and Alan Sinfield. 2nd ed. pp: 182-201. Ithaca: Cornell University Press, 1994.
Main Stack PR3017.P59 1994

Holderness, Graham.
"Shakespeare Rewound." Shakespeare Survey v45 (Annual, 1993):63 (12 pages).
The adaptation of Shakespearean drama into film is analyzed. Results showthat the main difficulty in capturing the essence of the text intofilm-text is in the simultaneous and overlapping textual planes of WilliamShakespeare's plays. Experimental films have attempted to duplicate this byprojecting each scene on three screans to represent a visual image fromthree perspectives. Others have attempted deconstructive techniques andformal montage.

Homan, Sidney
"A Cinema for Shakespeare." Literature/Film Quarterly 4:2 (1976:Spring) 17
"Shakespeare Through the Camera's Eye--Julius Caesar in Motion Pictures; Hamlet and Othello on Television." Shakespeare Quarterly, Vol. 4, No. 3. (Jul., 1953), pp.331-336. (Berkeley users only)

Howlett, Kathy M.
Framing Shakespeare on filmAthens: Ohio University Press, 2000.
MAIN: PR3093 .H69 2000

DISSERTATION
Hurtgen, Charles Livermore.
Film Adaptations of Shakespeare's Plays / by Charles Livermore Hurtgen.1962.
NRLFC 2 944 442

Hurtgen, Charles Livermore
"The Operatic Character of Background Music in Film Adaptations of Shakespeare"Shakespeare Quarterly, Vol. 20, No. 1. (Winter, 1969), pp.53-64.
(UCB users only)

"The Inaccessible Bard." (Shakespeare film adaptions) Economist v342, n8004 (Feb 15, 1997):81 (2 pages).
Film adaptions of Shakespeare reached their nadir with the recent releaseof the truly horrible 'Tromeo and Juliet,' but dubious productions of theBard in both stage and screen have a long history. Problems even the mostgifted directors have in producing Shakespeare are examined.

Iyengar, Sujata.
"Shakespeare in HeteroLove." Literature-Film-Quarterly, 2001, 29:2, 122-27.
UCB users only

Jackson, Russell
"Shakespeare and the Cinema." In: The Cambridge companion to Shakespeare / edited by Margreta de Grazia and Stanley Wells. pp: 217-33. Cambridge, U.K.; New York: Cambridge University Press, 2001. Series title: Cambridge companions to literature.
UCB Main PR2894 .C33 2001

Jackson, Russell
"Working with Shakespeare: confessions of an adviser." Cineaste v24, n1 (Winter, 1998):42 (3pages).
UC users only
A historical adviser on Shakespearean productions describes hiswork. He served as 'text' adviser on three film adaptations of Shakespeare by Kenneth Branagh, on Oliver Parker's 'Othello' and on John Madden's'Shakespeare in Love.' He has also served as a consultant on stage and radioproductions of Shakespeare. His work entails assessing how the original Shakespearean text has been changed and suggesting where to add or take outportions of the text. He does this while also considering the point of view ofthe screenwriter.

Jess-Cooke, Carolyn
Shakespeare on film : such things as dreams are made of London ; New York : Wallflower, 2007.
MAIN: PR3093 .J47 2007

Jorgens, Jack J.
Shakespeare on Film / Jack J. Jorgens. Bloomington: Indiana UniversityPress, c1977.
UCB Main PR3093 .J6
UCB Moffitt PR3093 .J6

Jorgens, Jack J.
"Shakespeare on film and television." In: William Shakespeare: his world, his work, his influence / John F. Andrews, editor. pp: 681-703. New York: Scribner, c1985.
Main Stack PR2976.W5354 1985 p.

Kachur, B.A.
"The First Shakespeare Film: A Reconsideration and Reconstruction of Tree's 'King John.'"(Beerbohm Tree) Theatre Survey v32, n1 (May, 1991):43 (21 pages).
"Considers the actors, scenery, costumes, sites, and cinemagraphic techniques used in British director Herbert Beerbohm Tree's production of King John (1899), the first Shakespearean play to be filmed. Pays particular attention to the numerous contemporary periodicals used to reconstruct the history of this film." [Historical Abstracts]

Kingsley-Smith, Jane E.
"Shakesperean authorship in popular British cinema." (Critical Essay) Literature-Film Quarterly July 2002 v30 i3 p158(8)
UC users only
"'The Immortal Gentleman,' 'Time Flies,' and 'Shakespeare in Love' are 20th-century motion pictures portraying William Shakespeare as struggling with inspiration. Questions of Shakespeare as author of the plays with which he is identified and the possibility of his work having been collaborative are raised in these movies but ultimately resolved in his favor.' [Expanded Academic Index]

Lake, James H.
"Auteurial Control of Audience Response in Some Film Adaptations of Shakespearean Tragedy."Shakespeare Bulletin: a Journal of Performance Criticism & Scholarship. 16(3):33-35. 1998 Summer

Lanier, Douglas M.
" Shakespeare noir." (Screen Shakespeare)(Critical Essay)Shakespeare Quarterly, Summer 2002 v53 i2 p157(24)
UC users only
"The rise of Shakespeare-based motion pictures in the 1990s may be seen as an attempt to reconfigure the relationship between traditional literature, multinational media industries, global economic capital and celebrity culture. This proliferation should not obscure the concept of film as a pervasive culture industry closely linked to coporate capitalism." [Expanded Academic Index]

Lan, Yong-Li.
"Returning to Naples: Seeing the End in Shakespeare Film Adaptation." Literature-Film-Quarterly, 2001, 29:2, 128-34.
UCB users only

Lane, Anthony.
"Tights! Camera! Action! What Does it Mean that the Bard Recently Hit No.1 at the Box Office?"(film adaptations of Shakespearean plays) New Yorker v72, n36 (Nov 25, 1996):65 (11 pages).
William Shakespeare' plays have been vehicles for films since the earlyhistory of the motion picture industry. An overview of these adaptions andassessments of the new 'Romeo and Juliet' and of Al Pacino's 'Looking forRichard' are presented.

Lanier, Douglas
"Shakescorp Noir"Shakespeare Quarterly - Volume 53, Number 2, Summer 2002
UC users only

Lanier, Douglas
"World-Wide Shakespeares: Local Appropriations in Film and Performance." Shakespeare Quarterly. Winter 2007. Vol. 58, Iss. 4; p. 562 (5 pages)
UC users only

Lehmann, Courtney
"Crouching Tiger, Hidden Agenda: How Shakespeare and the Renaissance Are Taking the Rage Out of Feminism." Shakespeare Quarterly - Volume 53, Number 2, Summer 2002
UC users only

Lehmann, Courtney
"Kenneth Branagh at the Quilting Point: Shakespearean Adaptation, Postmodern Auteurism, and the (Schizophrenic) Fabric of 'Everyday Life'"Post Script - Essays in Film and the Humanities 17:1 [Fall 1997] p.6-27
UC users only
"Offers an analysis of the film adaptation of Shakespeare's "Henry V" by the actor-director Kenneth Branagh and discusses how his dual identity as an Irishman and as an Englishman has influenced his aesthetic philosophy toward the production of Shakespeare. Argues that this "schizophrenic" aspect of Branagh's cultural heritage informs his merging of the "high" culture of Shakespeare with the "low" cultural form of film and is indicative of art during the postmodern age." [International Index to the Performing Arts]

Lehmann, Courtney.
Shakespeare remains: theater to film, early modern to postmodern Ithaca, N.Y.: Cornell University Press, 2002.
MAIN: PR3093 .L45 2002
Contens via Google Books

Lehmann, Courtney.
"Brave New Bard." (best books on Shakespeare in the movies)(Critical Essay) Cineaste v26, n1 (Winter, 2000):62.

Literatur in Film und Fernsehen: von Shakespeare bis Beckett
Herbert Grabes (Hg.).Konigstein/Ts.: Scriptor, 1980.
MAIN: PN1997.85 .L49 1980

London, Todd.
"Shakespeare in a strange land." (theater and motion picture versions ofShakespeare's works) American Theatre v15, n6 (July-August, 1998):22 (8 pages).
Most theater and motion picture production groups have presented some ofShakespeare's works in a way that makes it easier for people to understandthem. However, a review of modern theater renditions and film adaptationsof Shakespearean works during the early 1998 showed that they have onlyundermined some values for appreciating Shakespeare's plays. These filmadaptations include Al Pacino's 'Looking for Richard' and Joe Calarco's'Romeo and Juliet.'

Lyons, Donald.
"Lights, Camera, Shakespeare." Commentary, vol. 103 no. 2. 1997 Feb. pp: 57-60.

Manheim, Michael.
"The Function of Battle Imagery in Kurosawa's Histories and the 'Henry V' Films." Literature-Film Quarterly v22, n2 (April, 1994):129 (7 pages).
Akira Kurosawa's attitudes to war differ from those expressed in the two English films of 'Henry V', as shown by a comparison with the battle scenesin his films 'Ran' and 'Kagemusha.' All of the films are Shakespearean, yet Kurosawa contrasts glorious fighting with horror and destruction, resultingin a simple pacifist statement. Lawrence Olivier's 'Henry V' glorifies war,while Kenneth Branagh's 'Henry V' is ambivalent.

Manvell, Roger
Shakespeare and the Film. New York, Praeger [1971].
UCB Moffitt PR3093 .M3

Manvell, Roger
Shakespeare and the Film / Roger Manvell. Rev. and updated. SouthBrunswick, N.J.: A. S. Barnes, 1979.
UCB Moffitt PR3093 .M3 1979

Marder, Louis.
"The Shakespeare film: facts and problems." Shakespeare Newsletter (Univ. of Illinois at ChicagoCircle) (23) 42, 49. 1973

McGuire, Philip C.
Speechless Dialect: Shakespeare's Open Silences / Philip C. McGuire.Berkeley: University of California Press, c1985.
UCB Main PR3091 .M27 1985

McKernan, Luke.
"Beerbohm Tree's King John rediscovered: the first Shakespeare film, September 1899." Shakespeare Bulletin (11:1) 1993,35-6; (11:2) 1993, 49-50.

McLean, Andrew M.
Shakespeare, Annotated Bibliographies and Media Guide for Teachers /Andrew M. McLean. Urbana, Ill.: National Council of Teachers of English,c1980.
NRLFB 3 494 435

Meier, Paul.
"Kenneth Branagh: With Utter Clarity." (Interview) TDR (Cambridge, Mass.) v41, n2 (Summer, 1997):82 (8 pages).
Kenneth Branagh has directed film versions of 'Henry V' and 'Much Ado AboutNothing' and is credited with making the works of Shakespeare accessible toa new generation. He was interviewed on Oct 30, 1995, just before he beganproduction of the film version of 'Hamlet.' He explained that he tries toachieve a balance between imaginative interpretation and faithfulness tothe text. During rehearsals, he often provides background information aboutthe characters and time period, but encourages actors to add their ownpersonal response to the language. Branagh also discussed aesthetics,meter, famous Shakespearean actors and other topics.

Melnikoff, Kirk (ed. and introd.)
"Orson Welles and Shakespeare on Film." Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship, vol. 23, no. 1, pp. 5-136, Spring 2005.

Melkinoff, Kirk
"Wartime Shakespeare: The Strange Case of Bataan (1943)." Literature Film Quarterly; 2007, Vol. 35 Issue 2, p129-139, 11p
UC users only
"The article endeavors to examine Hollywood films between 1934 and 1943 that incorporate elements of Shakespearean drama into their narrative. The author focuses on the film "Bataan," a World War II combat film that uses elements of "Hamlet" and "Macbeth." A connection between "Bataan" and "Hamlet" can be seen in the lead character's surname in "Bataan," Dane and allusion to Hamlet the Danish prince, and in the film's examination of the consequences of inaction, a central theme of "Hamlet." The author examines the career of "Bataan" screenwriter Robert Hardy Andrews. The article discusses the box office failure of several 1934-1943 Shakespeare films." [Ebsco]

Millard, Barbara C.
"Shakespeare on Film: Towards an Audience Perceived and Perceiving." Literature/Film Quarterly 5:4 (1977:Fall) 352

Morris, Peter
Shakespeare on Film. Ottawa, Canadian Film Institute, 1972.
UCB Main PR3093 .M61
UCB Moffitt PR3093 .M6

Morris, Peter
"Shakespeare on film." (incl index of films, 1929-1971) Films in Review v 24 Mar 1973. p. 132-63

Morrison, Michael A.
John Barrymore, Shakespearean actor / Michael A. Morrison. Cambridge [England]; New York, NY, USA: Cambridge University Press, 1997. Series title: Cambridge studies in American theatre and drama 10.
UCB Main PR3112 .M67 1997

Mullin, Michael
"Shakespeare USA: The BBC Plays And American Education." Shakespeare Quarterly, Vol. 35, No. 5, Special Issue:Teaching Shakespeare. (1984), pp. 582-589. (Berkeley users only)

Mulrooney, Jonathan.
"Rough magic in America.(Shakespeare on Film)." Shakespeare Bulletin 24.1 (Spring 2006): 29(17). (Berkeley users only)

Murphy, Andrew.
"The Book on the Screen: Shakespeare Films and Textual Culture."In: Shakespeare, film, fin de siecle Edited by Mark Thornton Burnett and Ramona Wray; foreword by Peter Holland. pp: 10-25. New York: St. Martin's Press, 2000.
Main Stack PR3093.S485 2000

Naremore, James, ed.
"Welles/Shakespeare/film: an overview."In: Film adaptation / edited and with an introduction by James Naremore. New Brunswick, N.J.: Rutgers University Press, c2000. Naremore, James. Rutgers depth of field series.
Main Stack PN1997.85.F55 2000

Niyogi De, Esha
"Modern Shakespeare in popular Bombay cinema: translation, subjectivity and community." Screen;Vol.XLIII nr.1 (Spring 2002); p.19-40
Two Indian adaptations of 'Hamlet': "Khoon ka khoon" (1935) and Kishore Sahu's "Hamlet" (1955)are considered for their illustration of a colonial and post-colonial translation of an imperious 'master text'.

O'Brien, Geoffrey.
"The Ghost at the Feast. (review of film adaptations and other productionsof Shakespeare) New York Review of Books v44, n2 (Feb 6, 1997):11 (6 pages).

Osborne, Laurie E.
"Clip Art: Theorizing the Shakespeare Film Clip." Shakespeare Quarterly. 53(2):227-40. 2002Summer
UC users only

Osborne, Laurie (ed. and introd.)
"Screening Shakespeare." Colby-Quarterly, 2001 Mar, 37:1.

Osborne, Laurie E.
"Mixing Media in Shakespeare: Animating Tales and Colliding Modes of Production." Post Script, vol. 17 no. 2. 1998 Winter-Spring. pp: 73-89..

Osborne, Laurie (ed. and introd.).
"Screening Shakespeare." Colby Quarterly. 37(1). 2001 Mar

Osborne, Laurie E.
"Speculations on Shakespearean cinematic liveness.(Shakespeare ON FILM)(William Shakespeare)(Critical essay)." Shakespeare Bulletin 24.3 (Fall 2006): 49(17).
UC users only

Pearson, Roberta E.; Uricchio, William.
"How many times shall Caesar bleed insport: Shakespeare and the cultural debate about moving pictures." Screen, v. 31 (Autumn '90) p. 243-61
Also in:
The silent cinema reader / edited by Lee Grieveson and Peter Kramer. London ; New York : Routledge, 2004.
Main Stack PN1995.75.S547 2004
PFA PN1995.75.S547 2004

Pendleton, Thomas A.
"Shakespeare . . . with additional dialog." Cineaste, v. 24 no1('98) p. 62-6
UC users only
"Part of a special section on film adaptations of plays by William Shakespeare.The writer considers how Shakespeare's dialog is dealt with in film adaptations of hisplays. Shakespeare's language intimidates, and although filmmakers will cut, adapt,rearrange, reassign speeches, choose strange settings, and do all kinds of things to thetexts, they are very wary of adding their own words. In fact, they are usually moreconcerned about eliminating words, and most films cut one third or even half of the lines.However, filmmakers are somewhat less hesitant about interpolating other texts and feelrelatively free to add songs. The writer goes on to discuss the effectiveness of the dialogin several films, including Trevor Nunn's Twelfth Night, which may well be the best of thecurrent crop of Shakespeare films." [from ArtAbstracts]

Pendleton, Thomas A.
"What (?) Price (?) Shakespeare (?)." Literature-Film-Quarterly, 2001, 29:2, 135-46
UCB users only
Investigates three films using Shakespeare material and featuring Vincent Price.

Pigeon, Renee.
"'No Man's Elizabeth': The Virgin Queen in Recent Films." In: Retrovision : reinventing the past in film and fiction. Edited by Deborah Cartmell, I.Q. Hunter, and Imelda Whelehan. pp: 8-24. London; Sterling, Va.: Pluto Press, 2001. Series title: Film/fiction; v. 6.
UCB Main PN1995.9.H5 R46 2001

Pilkington, Ace G.
Screening Shakespeare from Richard II to Henry V / Ace G. Pilkington.Newark: University of Delaware Press; London; Cranbury, NJ: AssociatedUniversity Presses, c1991.
UCB Main PR3093 .P55 1991
UCB Moffitt PR3093 .P55 1991
Contents via Google Books

Prumm, Hans-Joachim.
Film-script, William Shakespeare: Eine Untersuchung derFilm-Bearbeitungen von Shakespeares Dramen am Beispiel AusgewahlterTragodien-Verfilmungen von 1945-1985 / von Hans-Joachim Prumm.Amsterdam:B.R. Gruner, 1987. Series title: Munchner Studien zur neueren englischen Literatur; Bd. 3.
UCB Main PR3093 .P71 1987

The reel Shakespeare: alternative cinema and theory
Edited by Lisa S. Starks and Courtney Lehmann. Madison [N.J.]: Fairleigh Dickinson University Press; London; Cranbury, N.J.: Associated University Presses, c2002.
Main Stack PR3093.R44 2002

Rhu, Lawrence F.
Stanley Cavell's American dream : Shakespeare, philosophy, and Hollywood movies Fordham University Press, 2006.
MAIN: B945.C274 R48 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0610/2006007880.html

Rosenthal, Daniel M.
Shakespeare on screen / Daniel Rosenthal ; foreword by Ian McKellen. London : Hamlyn, 2000.
Main Stack PR3093.R65 2000

Ross, Charles
"Underwater Women in Shakespeare Films." CLCWeb: Comparative Literature and Culture: A WWWeb Journal, vol. 6, no. 1, pp. 27 paragraphs, March 2004.

Rothwell, Kenneth S. (Kenneth Sprague)
A History of Shakespeare on Screen: A Century of Film and Television / Kenneth S. Rothwell. Cambridge, U.K.; New York: Cambridge University Press, 1999.
UCB Main PR3093 .R67 1999
Contents via Google Books

Rothwell, Kenneth S. (Kenneth Sprague)
Shakespeare on Screen: An International Filmography and Videography /Kenneth S. Rothwell and Annabelle Henkin Melzer. New York: Neal-Schuman,c1990.
UCB Ref/Bib PR3093 .R68 1990
UCB Media Ctr PR3093 .R68 1990

Rothwell, Kenneth S.
How the Twentieth Century Saw the Shakespeare Film: 'Is It Shakespeare?'." Literature-Film-Quarterly, 2001, 29:2, 82-95.
UCB users only
Survey of the literature on the study of Shakespeare on film.

Rothwell, Kenneth S.
"Orson Welles: Shakespeare for the art houses." (Shakespeare in the Cinema) Cineaste v24, n1 (Winter, 1998):28 (6 pages).
UC users only
"Part of a special section on film adaptations of plays by William Shakespeare. Orson Welles's film adaptations of Shakespeare's plays are discussed. Welles made and starred in three such films: Macbeth (1948), Othello (1952), and Chimes at Midnight (1966). He also undertook ambitious plans for films based on Shylock and King Lear, but neither project was realized. His Macbeth explores the tortured soul of Macbeth through the Wellesian world of skewed camera angles and brilliant decoupage, and the film's sheer nerve and energy make it impossible to ignore. In Chimes at Midnight, Welles gave his best performance as the larger-than-life yet vulnerable antihero Sir John Falstaff, and his Othello, which took three years to make because of repeated financial crises, is a work of art. In his struggle to find the best way to put Shakespeare on screen, however, Welles never quite made the transition from bohemian art house to suburban mall house." [Art Index]

Sammons, Eddie
Shakespeare : a hundred years on film Lanham, Md. : Scarecrow Press, 2004.
MAIN: PR3093 .S26 2004

Shakespeare after mass media
Edited by Richard Burt. New York : Palgrave, 2002.
Main Stack PR2970.S49 2002

Shakespeares after Shakespeare : an encyclopedia of the Bard in mass media and popular culture
Edited by Richard Burt. Westport, Conn. : Greenwood Press, 2007.
Main Stack PR2880.A1.S48 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0611/2006010852.html

Shakespeare and the Moving Image: The Plays on Film and Television
Edited by Anthony Davies and Stanley Wells. Cambridge; New York: Cambridge University Press, 1994.
UCB Main PR3093 .S53 1994
Contens via Google Books

Shakespeare, film, fin de siecle
Edited by Mark Thornton Burnett and Ramona Wray; foreword by Peter Holland. New York: St. Martin's Press,
Main Stack PR3093 .S485 2000

"Shakespeare in the cinema: a film directors' symposium." (Shakespeare in the Cinema)(Panel Discussion)Cineaste v24, n1 (Winter, 1998):48 (8 pages).
UC users only
A panel discussion among filmmakers who have been involved in adapting Shakespeare's plays for the cinema was conducted to gain insights into their working methods and aesthetic considerations. Participants included Sir Peter Hall ('A Midsummer Night's Dream,' 1968), Roman Polanski ('Macbeth,' 1971), Franco Zeffirelli ('Romeo and Juliet,' 1968), Baz Luhrmann ('William Shakespeare's Romeo + Juliet,' 1996) and Richard Loncraine ('Richard III,' 1995).

Shakespeare on Film
Edited by Robert Shaughnessy. New York: St. Martin's Press, 1998. Series title: New casebooks.
UCB Main PR3093 .S537 1998
Contens via Google Books

"Shakespeare on Film: A Selected Checklist."
Literature/Film Quarterly 4:2 (1976:Spring) 191

Shakespeare, The Movie: Popularizing the Plays on Film, TV, and Video
Edited by Lynda E. Boose, Richard Burt. London; New York: Routledge, 1997.
Main Stack PR3093.S545 1997
Contens via Google Books

Shakespeare, the movie, II : popularizing the plays on film, TV, video, and DVD / edited by Richard Burt and Lynda E. Boose. London ; New York : Routledge,
Main Stack PR3093.S543 2003

Silviria, Dale
Laurence Olivier and the Art of Film Making / Dale Silviria. Rutherford [N.J.]: Fairleigh Dickinson University Press; London: Associated University Presses, c1985.
UCB Main PN2598.O55 S54 1985
UCB Moffitt PN2598.O55 S54 1985

Simmon, Scott.
"Concerning the Weary Legs of Wyatt Earp: The Classic Western according to Shakespeare." Literature/ Film Quarterly, vol. 24 no. 2. 1996. pp: 114-27.

Skrebels, Paul.
"What's Shakespeare to Us or We to Shakespeare? An Interventionist Teaching and Learning Strategy." Readerly-Writerly Texts 2000 Spring-Winter, 8:1-2, 93-103.

Spectacular Shakespeare : critical theory and popular cinema
Edited by Courtney Lehmann and Lisa S. Starks. Madison [N.J.] : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses, c2002.
Main Stack PR3093.S64 2002
Contents: All our Othello: black monsters and white masks on the American screen / Marguerite Hailey Rippy -- "How very like the home life of our own dear queen": Ian McKellen's Richard III / Lisa Hopkins -- (Un)doing the book "without Verona walls": a view from the receiving end of Baz Luhrmann's William Shakespeare's Romeo + Juliet / Alfredo Michel Modenessi -- Cutting up characters: the erotic politics of Trevor Nunn's Twelfth night / Laurie Osborne -- The marriage of Shakespeare and Hollywood: Kenneth Branagh's Much ado about nothing / Samuel Crowl -- Shakespeare in love: romancing the author, mastering the body / Courtney Lehmann -- "Art thou base, common, and popular?": The cultural politics of Kenneth Branagh's Hamlet / Douglas Lanier -- From the cinema to the classroom: Hollywood teaches Hamlet / Elizabeth A. Deitchman -- The film's the thing: using Shakespearean film in the classroom / Annalisa Castaldo -- Afterword: Te(e)n things I hate about Girlene Shakesploitation flicks in the late 1990's, or not-so-fast times at Shakespeare high / Richard Burt.

Starks, Lisa S.
"'Remember Me': Psychoanalysis, Cinema, and the Crisis of Modernity." Shakespeare Quarterly. 53(2):181-200. 2002 Summer
UC users only

Stenberg, Doug.
"The Circle of Life and the Chain of Being: Shakespearean Motifs in The Lion King." Shakespeare Bulletin, vol. 14 no. 2. 1996 Spring. pp: 36-37.

Streisand, Betsy.
"Looking for Mr. Good Bard this fall." (Shakespeare film adaptions) U.S. News & World Report v121, n19 (Nov 11, 1996):77 (1 page).
Motion picture studios have traditionally been very reluctant to try and film the works of Shakespeare, believing them to be too difficult and hard for audiences to appreciate. A new group of movies based on the Bard's work are now being produced, hoping to reverse that trend.

Styan, J. L.
Perspectives on Shakespeare in performance / J.L. Styan. New York: P. Lang, 1999. Series title: Studies in Shakespeare; vol. 11.
UCB Main PR3091 .S79 1999

Teker, Gulsen Sayin.
"Empowered by madness: Ophelia in the films of Kozintsev, Zeffirelli, and Branagh.(Grigori Kozintsev, Franco Zeffirelli, Kenneth Branagh)(Critical essay)." Literature-Film Quarterly 34.2 (April 2006): 113(7).
UC users only

Thompson, Ayanna.
"Rewriting the "Real": Popular Shakespeare in the 1990s." Journal of Popular Culture. Dec 2007. Vol. 40, Iss. 6; p. 1052 (21 pages)
(UCB users only)

Thorp, Margaret Farrand
"Shakespeare and the Movies." Shakespeare Quarterly, Vol. 9, No. 3. (Summer, 1958), pp. 357-366.
(UCB users only)

Tibbetts, John C.
Backstage with the Bard: or, Building a Better Mousetrap." Literature-Film-Quarterly, 2001, 29:2, 147-64.
UCB users only
Looks at films that do not adapt Shakespeare so much as assimilate him into their primary texts.

Tibbetts, John.
"Breaking the Classical Barrier: Franco Zeffirelli interviewed by John Tibbetts." Literature-Film Quarterly v22, n2 (April, 1994):136 (5 pages).
Director Franco Zeffirelli places importance on bringing opera and William Shakespeare's works to a mass audience, as in his Shakespearean films. His 1990 film of 'Hamlet' was only possible because it starred Mel Gibson, for there is great difficulty in selling Shakespeare to film studios today. Zeffirelli sees Hamlet as the first modern man, although he gave the sets a primitive medieval look with grayish colors. He sees Shakespeare's language as a challenge for accessibility to a modern audience.

Tiffany, Grace
"Not much information about Bollywood Shakespeare." (William Shakespeare in Indian cinema)(Critical Essay) Shakespeare Newsletter Winter 2002 v52 i4 p123(1)

"Tough acts." (film adaptations of William Shakespeare's plays)(Editorial)Sight and Sound v7, n2 (Feb, 1997):3 (1 page).
Filmdom is facing a current trend toward contemporary film adaptations of Shakespearean plays, which has elicited sundry reactions from the film community. While critics smirk on the merits of these adaptations relative to their justification, filmmakers as well as the fare-getters welcome the refreshing change from the cliche Hollywood formulas to verified story-telling inherent in every classic Shakespearean tale.

Transforming Shakespeare: contemporary women's re-visions in literature and performance
Edited by Marianne Novy. 1st ed. New York: St. Martin's Press, 1999.
UCB Main PR2880.A1 T7 1999

Vela, Richard.
"An Excellent Short Cut to Shakespeare on Film" Literature/Film Quarterly. 2008. Vol. 36, Iss. 2; p. 157 (3 pages)
UC users only

Walker, Elsie
"Shakespeare on Film: Early Modern Texts, Postmodern Statements." Literature Compass 1 (2003)SH 035,1 -5
UC users only

Walking Shadows: Shakespeare in the National Film and Television Archive
Eited by Luke McKernan and Olwen Terris. London: British Film Institute, 1994.
UCB Main PR2880.A1 W35 1994

Watson, William Van.
"Shakespeare, Zeffirelli, and the Homosexual Gaze." (Franco Zeffirelli) (Shakespeare - Film & Television) Literature-Film Quarterly v20, n4 (Oct, 1992):308 (18 pages).
UC users only
Director Franco Zeffirelli displays a homosexual 'gaze' in much of his camera work. Often Zeffirelli's camera will focus on the bearer rather than the object of the gaze, and often the bearer will be one of his handsome leading actors such as Michael York or Leonard Whiting. In his film version of 'Taming of the Shrew' Zeffirelli balances such scenes with shots of Elizabeth Taylor's cleavage. The homosexual gaze that Zeffirelli brings to the camera is not overdone and seems tempered by his own closeted sexual politics.

Welles, Orson
Orson Welles on Shakespeare : the W.P.A. and Mercury Theatre playscripts / edited with an introduction by Richard France. New York : Greenwood Press, 1990. Contributions in drama and theatre studies ; no. 30
Main Stack PR2877.W45 1990

Welsh, James M.
"Classic demolition: why Shakespeare is not exactly 'our contemporary'; or, 'Dude, where's my hankie?'." Literature/Film Quarterly (30:3) [2002:3] , p.223-227.
UC users only

Welsh, Jim.
"Shakespeare Boom or Bust?" West Virginia University Philological Papers. 47:150-54. 2001

Willis, Susan
The BBC Shakespeare Plays: Making the Televised Canon / Susan Willis. Chapel Hill: University of North Carolina Press, c1991.
UCB Main PR3093 .W55 1991
UCB Moffitt PR3093 .W55 1991

Willson, Robert Frank
Shakespeare in Hollywood, 1929-1956 Madison [N.J.]: London; Cranbury, NJ: Fairleigh Dickinson University Press; Associated University Presses, 2000.
UCB Main PR3093.W57 2000

Yong, Li Lan
"Returning to Naples: seeing the end in Shakespeare film adaptation." Literature/Film Quarterly; Vol.XXIX nr.2 (2001); p.128-134
Examines the differences that cinematic reproduction makes to the endings of Shakespeare in several film versions of the plays.

Individual Plays

Anthony and Cleopatra

Deats, Sara Munson
"Shakespeare's Anamorphic Drama: A Survey of Antony and Cleopatra in Criticism, on Stage, and on Screen." In: Antony and Cleopatra : new critical essays / edited by Sara Munson Deats. New York : Routledge, 2005. Shakespeare criticism ;v. 30
Main PR2802 .A837 2005 Deats, Sara Munson, Deats, Sara Munson (ed.). (2005). Antony and Cleopatra: New Critical Essays. (pp. 1-93). New York, NY: Routledge, x, 341 pp.

As You Like It

Crowl, Samuel
"As You Like It." Shakespeare Bulletin; Spring 2008, Vol. 26 Issue 1, p97-101, 5p
The article reviews the film "As You Like It," directed by Kenneth Branagh and starring Kevin Kline, Alfred Molina and Brian Blessed.

Jays, David
"As You Like It." Sight & Sound; Oct 2007, Vol. 17 Issue 10, p48-48, 1p
UC users only

Falstaff (Chimes at Midnight): Orson Welles

Anderegg, Michael
"'Every Third Word a Lie': Rhetoric and History in Orson Welles's Chimes at Midnight." Film Quarterly XL/3, Spring 87; p.18-24.
Criticizes Orson Welles's use of Shakespeare's language and history in Chimes at Midnight. Reprinted under the same title in Beja, Perspectives on Orson Welles [F]: 210-18; incorporated into Anderegg, Orson Welles, Shakespeare, and Popular Culture

Baxter, Keith.
"Filming Falstaff." [translated] Positif 378 (1992): 29-35.
Recounts the filming of Orson Welles's Chimes at Midnight. Baxter, who played Prince Hal in the film, wrote this in 1982. Translated by Francois Thomas.

Bell, Robert H.
"Rereading Orson Welles's Chimes at Midnight." Shakespeare Newsletter 54 (2004-5): 17, 20, 22.
Offers an appreciation of Orson Welles' Chimes at Midnight as both a flawed work and "a strong interpretation of Shakespeare."

Chimes at Midnight: Orson Welles, Director
Bridget Gellert Lyons, editor. New Brunswick [N.J.]: Rutgers University Press, c1988. Series title: Rutgers films in print; [v. 11].
UCB Main PN1997 .C46437 1988
UCB Moffitt PN1997 .C46437 1988

Crowl, Samuel
"The Long Goodbye: Welles and Falstaff." Shakespeare Quarterly, Vol. 31, No. 3. (Autumn, 1980), pp. 369-380.
(UCB users only)
Analyzes Orson Welles's Chimes at Midnight as an exception to the recent trend in productions to diminish Falstaff in order to explore other values in 1 and 2 Henry IV and Henry V.

Curren-Aquino, Deborah T.
"Chimes at Midnight: Retrospectively Elegiac." Shakespeare on Film Newsletter 4, no. 1 (December 1979): 1, 7-8.
Discusses how Orson Welles makes the betrayal of a friendship between Hal and Falstaff the core of Chimes at Midnight

Dean, Leonard F.
"Comedy, Cultural Poetics, and Chimes at Midnight." Sewanee Review 102 (1994): 451-55.

Hapgood, Robert.
"Chimes at Midnight from Stage to Screen: The Art of Adaptation."Shakespeare Survey 39 (1987): 39-52.
Studies Orson Welles's Chimes at Midnight against the backdrop of his earlier stage productions: the aborted Five Kings (1938), which folded before reaching the New York stage, and the Belfast/Dublin Chimes at Midnight (1960). Reprinted in Alexander, editor, The Cambridge Shakespeare Library, Volume 3: Shakespeare Performance (q.v.), and in Beja, editor, Perspectives on Orson Welles [F]: 193-209.

Hoffman, Dean A.
"'Bypaths and Indirect Crooked Ways': Mise-en-Scene in Orson Welles's Chimes at Midnight." Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship, vol. 23, no. 1, pp. 87-112, Spring 2005.

Howlett, Kathy M.
"Utopian revisioning of Falstaff's tavern world: Orson Welles's Chimes at midnight and Gus Van Sant's My own private Idaho." In Framing Shakespeare on film. pp. 149-77. Athens: Ohio University Press, 2000.
MAIN: PR3093 .H69 2000

Howlett, Kathy M.
"Utopian Revisioning of Falstaff's Tavern World: Orson Welles's Chimes at Midnight and Gus Van Sant's My Own Private Idaho." In: The reel Shakespeare: alternative cinema and theory Edited by Lisa S. Starks and Courtney Lehmann. pp: 165-88. Madison [N.J.]: Fairleigh Dickinson University Press; London; Cranbury, N.J.: Associated University Presses, c2002.
Main Stack PR3093.R44 2002

McLean, Andrew M.
"Orson Welles and Shakespeare: History and Consciousness in Chimes at midnight." Literature/Film Quarterly XI/3, July 83; p.197-202.
UC users only
Demonstrates how the segments in the motion picture 'Chimes at Midnight' or 'Falstaff,' directed by Orson Welles capture the essence of Shakespearean tetralogy. Details on the filming of 'Falstaff'; Setting of the film.

McLean, Andrew M.
"Orson Welles and Shakespeare: History and Consciousness in "Chimes at Midnight" Literature/Film Quarterly 11:3 (1983) 197
(Shakespeare On Film IV Papers from the World Shakespeare Congress, 1981 Stratford-upon-Avon)

Poague, Leland.
"`Reading the Prince?: Shakespeare, Welles, and Some Aspects of Chimes at Midnight." Iowa State Journal of Research 56, no. 1 (1981): 57-65.

Rubin, Stanley S.
"Welles/Falstaff/Shakespeare/Welles: The Narrative Structure of Chimes at Midnight." Film Criticism 2, nos. 2-3 (1977-78): 66-71.

Sylvano, John B.
"Orson Welles`s Falstaff: A Selected Bibliography." Shakespeare on Film Newsletter 2, no. 2 (April 1978): 3, 8.

Falstaff: My Own Private Idaho: Gus Van Sant

See Gay/Lesbian bibliography

Hamlet

Baker, David.
"Ophelia's Travels." In: Gender and Culture in Literature and Film East and West: Issues of Perception and Interpretation: selected conference papers / edited by Nitaya Masavisut, George Simson, Larry E. Smith. pp: 3-8. Honolulu, Hawaii: College of Languages, Linguistics, and Literature, University of Hawaii: East-West Center: Distributed by University of Hawaii Press, c1994. Series title: Literary studies--East and West; v. 9.
UCB AsianAmer PN1995.9.A8 G46
UCB Main PN1995.9.A78 G46 1994

Biggs, Murray.
"'He's Going to His Mother's Closet': Hamlet and Gertrude on Screen." Shakespeare Survey v45 (Annual, 1993):53 (10 pages).
Four 20th century film adaptations of William Shakespeare's 'Hamlet' are analyzed focusing on the closet scene, which is Act 3, Scene 4. This is because it is considered the emotional center of the play, is conceivedfrom the camera's perspective and focuses on the complex love between Hamlet and Gertrude. Results show that the four productions interpreted Hamlet's character in differing but probable ways, significantly widening the scope of the debate regarding the hero's nature.

Bigliazzi, Silvia.
"'The Time Is out of Joint': Hamlet on Screen and the Crystal Image." Hamlet Studies, vol. 18 no. 1-2. 1996 Summer-Winter. pp: 105-25.

Burton, J. Anthony
"The Lady Vanishes or, the Incredible Shrinking Gertrude." In: Acts of criticism : performance matters in Shakespeare and his contemporaries : essays in honor of James P. Lusardi / edited by Paul Nelsen and June Schlueter. Madison [N.J.] : Fairleigh Dickinson University Press, c2006.
Main Stack PR3091.A27 2006

Gillespie, David
"Adapting foreign classics : Kozintsev's Shakespeare." In: Russian and Soviet film adaptations of literature, 1900-2001 : screening the word / edited by Stephen Hutchings and Anat Vernitski. London ; New York : RoutledgeCurzon, 2005.
Main Stack PN1997.85.F437 2005

Halio, Jay L.
"Three Filmed Hamlets" Literature/Film Quarterly 1:4 (1973:Fall) 316

Kliman, Bernice W.
Hamlet: Film, Television, and Audio Performance / Bernice W. Kliman. Rutherford [N.J.]: Fairleigh Dickinson University Press; London; Cranbury, NJ: Associated University Presses, c1988.
UCB Main PR2807 .K571 1988
UCB Moffitt PR2807 .K57 1988

Khoury, Yvette K.
"'To Be or Not to Be' in 'The Belly of the Whale'; A Reading of Joseph Campbell's 'Modern Hero' Hypothesis in Hamlet on Film." Literature/Film Quarterly, vol. 34, no. 2, pp. 120-29, 2006
(UC Berkeley users only)

Lake, James H.
"The effects of primacy and recency upon audience response to five film versions of Shakespeare's 'Hamlet'." (Shakespeare on Film 2000)(William Shakespeare)(Critical Essay)Literature-Film Quarterly v28, n2 (April, 2000):112 (6 pages).
UCB users only
Primacy, or the first adaptation in a series, and recency, or the latest in a series, are posited as having the greatest impact on audience impression. A comparison is made between Laurence Olivier's 1947 adaptation and Kenneth Branagh's 1996 version, with Olivier's ending open to interpretation and Branagh's providing closure.

Maher, Mary Z.
"At Last, an American Hamlet for Television." [Kevin Kline and Kirk Browning] Literature-Film Quarterly v20, n4 (Oct, 1992):301 (7 pages).

Maher, Mary Z.
"Hamlet's BBC Soliloquies." Shakespeare Quarterly, Vol. 36, No. 4. (Winter, 1985), pp. 417-426.
(UC Berkeley users only)

Niyogi De, Esha
"Modern Shakespeare in popular Bombay cinema: translation, subjectivity and community." Screen; Vol.XLIII nr.1 (Spring 2002); p.19-40
Two Indian adaptations of 'Hamlet': "Khoon ka khoon" (1935) and Kishore Sahu's "Hamlet" (1955) are considered for their illustration of a colonial and post-colonial translation of an imperious 'master text'.

Scolnicov, Hanna.
"Gertrude's willow speech: word and film image." (Shakespeare on Film 2000)('Hamlet')(Critical Essay) Literature-Film Quarterly v28, n2 (April, 2000):101 (11 pages).
An analysis is presented on Gertrude's account of Ophelia's death in film adaptations of William Shakespeare's play 'Hamlet', and the variations in interpretation by directors Laurence Olivier, Grigori Kozintsev, Franco Zeffirelli, and Kenneth Branagh. These variations include the account as a voiceover, a visual pan of the drowned Ophelia, and as a speech, and the emotive response drawn by each.

Seidl, Monika.
"Room for Asta: gender roles and melodrama in Asta Nielsen's filmic version of Hamlet (1920)." Literature/Film Quarterly (30:3) [2002:3] , p.208-216.
UC users only

Shaltz, Justin.
"Three Hamlets on Film." Shakespeare Bulletin, vol. 11 no. 1. 1993 Winter. pp: 36-37.

Simmons, James R., Jr.
"In the Rank Sweat of an Enseamed Bed": Sexual Aberration and the Paradigmatic Screen 'Hamlets.'" Literature-Film Quarterly v25, n2 (April, 1997):111 (8 pages).
Hamlet's sexuality has become the focal point of Shakespeare's play for modern audiences because of the influence of four filmed versions of the play. Svend Gade's 1920 version portrayed Hamlet as a woman pretending to be a man. Laurence Olivier's 1948 'Hamlet' was the first to depict the prince as a man motivated by Oedipal longings for his mother. The 1980 BBC teleplay made Hamlet's longings more explicit, while Franco Zeffirelli's 1990 version carried Olivier's Oedipal interpretation even further. Critical acclaim for the Olivier and BBC films have fostered popular acceptance of their Freudian premise.

Teker, Gulsen Sayin.
"Empowered by madness: Ophelia in the films of Kozintsev, Zeffirelli, and Branagh.(Grigori Kozintsev, Franco Zeffirelli, Kenneth Branagh)(Critical essay)." Literature-Film Quarterly 34.2 (April 2006): 113(7).
UC users only

Vanneman, Alan
"Nine Hamlets." Bright Lights Film Journal, vol. 51, pp. (no pagination), February 2006

Weller, Philip.
"Freud's Footprints in Films of 'Hamlet.'" Literature-Film Quarterly v25, n2 (April, 1997):119 (6 pages).
Laurence Olivier's 1948 film adaptation of William Shakespeare's 'Hamlet' was the first to be influenced by Sigmund Freud's concept of the Oedipus complex, as interpreted by Ernest Jones' 1910 article 'Hamlet and Oedipus.' Since Olivier's version, the Oedipal interpretation of Hamlet has become standard on film and in performance. Subsequent film adaptations, such as the 1980 BBC version and Franco Zeffirelli's 1990 production, have made the Freudian message increasingly explicit. Critics, directors, performers and audience have mostly forgotten that other views of Hamlet are not only possible but preferable.

Hamlet: Michael Almereyda

Abbate, Alessandro.
"To Be or Inter-Be": Almereyda's end-of-millennium Hamlet." Literature/Film Quarterly. 2004. Vol. 32, Iss. 2; p. 82 (8 pages)
UC users only

Almereyda,Michael
"A live wire to the brain: hooking up 'Hamlet.'" (director of the latest film version of 'Hamlet' discusses his film) . The New York Times May 7, 2000 pAR19(N) pAR19(L) col 1 (25 col in)

Bowman, James
"Hamlet." (Review) The American Spectator June 2000 v33 i5 p66(2)

Burnett, M. T.
"'To Hear and See the Matter': Communicating Technology in Michael Almereyda’s Hamlet (2000)." Cinema Journal 42, No. 3, Spring 2003
UC users only

Chang, Chris
"The Pleasures and Terrors of Michael Almereyda." (filmmaker)Film Comment May 2000 v36 i3 p56
UC users only

Jess, Carolyn
"The Promethean Apparatus: Michael Almereyda's Hamlet as Cinematic Allegory." Literature Film Quarterly; 2004, Vol. 32 Issue 2, p90-96, 7p, 1bw
UC users only
"This article presents a critical analysis of the motion picture, Hamlet, directed by Michael Almereyda. William Shakespeare's cinematic renaissance ended in the twentieth century with John Madden's Shakespeare in Love. Emergent cinematic technology promoted developments in the film industry. Baz Luhrmann's film, William Shakespeare's Romeo + Juliet, started a trend in Shakespearean cinema that is expressed by the digitally composed, The King Is Alive and Rave Macbeth. Both these films in particular serve as examples of what cinema has to offer Shakespearean appropriation throughout the following century. As the first film of the new millennium to adapt a Bardic text, Hamlet signals this discursive and technological abundance as cinematically as possible. Denmark here is a New York corporation, ostensibly involved in film production. Hamlet, played by Ethan Hawke, is constructed as a filmmaker who is obsessed with observing his environs and forefathers through a camera lens. In this light, it would seem that cinema is Shakespeare's ideological precursor. Almereyda's production crystallizes the play's engagement with a specifically cinematic dogma while also displaying pre-cinematic inventions." [Ebsco]

Kauffmann, Stanley
"On Films - The Muses in Manhattan."The New Republic June 5, 2000 p26 (1428 words)
UC users only

Ko, Yu Jin.
""The Mousetrap" and remembrance in Michael Almereyda's Hamlet.(Shakespeare on Film)(Critical essay)." Shakespeare Bulletin 23.4 (Winter 2005): 19(14). 5 Dec. 2006
UC users only

Matthews, Peter
"Hamlet." (Review) Sight and Sound Jan 2001 v11 i1 p50(2)
UC users only
"Almereyda provides a brash modernization of Hamlet that, at 111 minutes, must be one of the speediest versions of the sound era. He portrays a Baudrillardesque world bombarded by the mass media in which it is no longer possible to tell what is real. However, the film itself falls victim to the same problem it diagnoses, with the imagery hurtling by pell-mell without making a strong impression on the memory. Almereyda appears to be blind to the paradox of jog-trotting through Shakespeare's immortal study in procrastination." [Art Index]

Mitchell, Elvis
"Hamlet." (Review) The New York Times Nov 10, 2000 pB27(N) pE28(L) col 1 (5 col in)

Mitchell, Elvis
"A simpler melancholy." The New York Times May 12, 2000 pB1(N) pE1(L) col 1 (35 col in)

Nochimson Martha P.
"Hamlet." (Review) Cineaste Fall 2000 v25 i4 p37 (1904 words)
UC users only
"A review of Hamlet, a film directed by Michael Almereyda. This new adaption of Shakespeare's play relocates the drama from Elsinore to the Elsinore Hotel in contemporary New York. While the spectacle of the actors wandering among the city's monolithic skyscrapers, articulating Shakespearean cadences in flat modern tones, has the charm of innovation, the change of setting results in a change of ethos that kicks the supports out from under all the motivations in the original play: Saturated by empty images of late capitalism, the urban setting leaves Hamlet, his family, and his friends at loose ends in a distinctly un-Shakespearean universe with a void at its center. The film bristles with hints about what a successful postmodern Hamlet might be like, but these moments are thwarted by Almereyda's inability to translate the teleology of tragedy, with all its implication of an ordered and just universe, for a contemporary setting." [Art Index]

Rainer, Peter
"Hamlet." (Review) New York May 22, 2000 v33 i20 p88(2)

Simon, John
"A Will But No Way." (Review) National Review June 19, 2000 v52 i11 pNA (1241 words)
UC users only

Rienstra, Debra
"Postmodern Hamlet." (Critical Essay) Books & Culture Jan 2001 v7 i1 p18 (1850 words)

Hamlet: Kenneth Branagh

Alleva, Richard.
"Hamlet." (movie reviews)Commonweal v124, n6 (March 28, 1997):18 (2 pages).

Bowman, James.
"The Great Dane's a Dog." (motion picture adaption of theatrical plays)(The Talkies) American Spectator v24, n3 (March, 1991):30 (2 pages).

Bowman, James.
"Hamlet."(motion picture) American Spectator v30, n3 (March, 1997):66 (2 pages).

Buhler, Stephen M.
"Double takes: Branagh gets to Hamlet." Post Script (17:1) 1997, 43-52

Burnett, Mark Thornton.
"The "Very Cunning of the Scene": Kenneth Branagh's 'Hamlet.'" Literature-Film Quarterly v25, n2 (April, 1997):78 (5 pages).
UC users only
Kenneth Branagh's film version of William Shakespeare's 'Hamlet' is dominated by Branagh's powerful performance of the title role. The film is also notable for its emphasis of the military elements of the play, usually ignored or neglected in modern productions. The restoration of the Fortinbras subplot is especially welcome. The film's production design, use of locations and settings, camera work and other visual elements effectively reinforce the messages conveyed by the spoken words. Sometimes, however, Branagh allows the film's score and its visual elements to overwhelm Shakespeare's text.

Coe, Jonathan.
"Hamlet."(motion picture) New Statesman (1996) v126, n4321 (Feb 14, 1997):41.

Crowl, Samuel
"Hamlet 'Most Royal: An Interview with Kenneth Branagh" Shakespeare Bulletin vol. 12 no. 4, 1994 Fall: 5-8

Denby, David.
"Hamlet." (movie reviews) New York v29, n51 (Jan 6, 1997):49.

Felperin, Leslie.
"Hamlet." (movie reviews)Sight and Sound v7, n2 (Feb, 1997):46.

Fisher, Bob
"Tragedy of Epic Proportions." (Interview).American Cinematographer LXXVIII/1, Jan 97; p.58-60,62,64,66. illus.
Cinematographer Alex Thomson recalls his period working as camera operator for Nicolas Roeg and the influence of this on his later career; plus thoughts on the decision to shoot Kenneth Branagh's version of 'Hamlet' in 65mm.

Jackson, Russell.
"Kenneth Branagh's Film of Hamlet: The Textual Choices." Shakespeare Bulletin, vol. 15 no. 2. 1997 Spring. pp: 37-38.

Johnson, Brian D.
"Hamlet." (movie reviews) Maclean's v109, n53 (Dec 30, 1996):102 (2 pages).

Kauffmann, Stanley.
"Hamlet." (movie reviews) New Republic v216, n4 (Jan 27, 1997):26 (3 pages).

Lake, James H.
"The effects of primacy and recency upon audience response to five film versions of Shakespeare's 'Hamlet'." (Shakespeare on Film 2000)(William Shakespeare)(Critical Essay)Literature-Film Quarterly v28, n2 (April, 2000):112 (6 pages).
UC users only
Primacy, or the first adaptation in a series, and recency, or the latest in a series, are posited as having the greatest impact on audience impression. A comparison is made between Laurence Olivier's 1947 adaptation and Kenneth Branagh's 1996 version, with Olivier's ending open to interpretation and Branagh's providing closure.

Lanier, Douglas
"Art thou base, common, and popular?": The cultural politics of Kenneth Branagh's Hamlet." In: Spectacular Shakespeare : critical theory and popular cinema
Edited by Courtney Lehmann and Lisa S. Starks. Madison [N.J.] : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses, c2002.
Main Stack PR3093.S64 2002

Lyons, Donald.
"Hamlet." (movie reviews) Commentary v103, n2 (Feb, 1997):58 (3 pages).

Maslin, Janet.
"William Shakespeare's Hamlet." (movie reviews) New York Times v146 (Wed, Dec 25, 1996):B1(N), C7(L), col 1, 16 col in.

Mullan, John.
"Hamlet." (movie reviews) TLS. Times Literary Supplement, n4899 (Feb 21, 1997):19.

Rafferty, Terrence.
"Hamlet."(motion picture) New Yorker v72, n42 (Jan 13, 1997):80 (2 pages).

Riding, Alan.
"To be, or not to..O.K., cut!" (new film versions of 'Othello' and 'Richard III' attempt to modernize Shakesepeare for movie audiences) New York Times v144, sec2 (Sun, Sept 17, 1995):H1(N), H1(L), col 3, 49 col in.

Rothenberg, Robert S.
"Hamlet."(motion picture) USA Today (Magazine) v126, n2628 (Sept, 1997):81.

Sanders, Julie.
"The End of History and the Last Man: Kenneth Branagh's Hamlet." In: Shakespeare, film, fin de siecle / edited by Mark Thornton Burnett and Ramona Wray; foreword by Peter Holland. pp: 147-64 New York: St. Martin's Press, 2000.
Main Stack PR3093.S485 2000

Simon, John.
"Hamlet."(motion picture) USA Today (Magazine) v126, n2 National Review v49, n2 (Feb 10, 1997):57 (2 pages)

Sheppard, Philippa.
"The Castle of Elsinore: Gothic Aspects of Kenneth Branagh's Hamlet." Shakespeare Bulletin: a Journal of Performance Criticism & Scholarship. 19(3):36-39. 2001 Summer

Smith, Emma.
"'Either for Tragedy, Comedy': Attitudes to Hamlet in Kenneth Branagh's In the Bleak Midwinter and Hamlet." In: Shakespeare, film, fin de siecle / edited by Mark Thornton Burnett and Ramona Wray; foreword by Peter Holland. pp: 137-46. New York: St. Martin's Press, 2000.
Main Stack PR3093.S485 2000

Teker, Gulsen Sayin.
"Empowered by madness: Ophelia in the films of Kozintsev, Zeffirelli, and Branagh.(Grigori Kozintsev, Franco Zeffirelli, Kenneth Branagh)(Critical essay)." Literature-Film Quarterly 34.2 (April 2006): 113(7).
UC users only

Travers, Peter.
"Hamlet."(motion picture) Rolling Stone, n752 (Jan 23, 1997):72.

Welsh, Jim.
"Hamlet, by William Shakespeare: Screenplay and Introduction." (book reviews) Literature-Film Quarterly v25, n2 (April, 1997):154 (2 pages).

Wolf, Matt.
"Branagh's 'Bracing' Encounter with Bard." (Kenneth Branagh on his adaptation of William Shakespeare's 'Hamlet')(London: Entertainment Town)(Top of the Town: Kenneth Branagh)(Interview) Variety v365, n7 (Dec 16, 1996):25 (3 pages).

Hamlet: Grigori Kozintsev

Brebach, Emily S.
"From Olivier to Kozintsev: Visual Technique in Transforming Hamlet into Film."PCLS., vol. 12. 1981. pp: 67-81.

Catania, Saviour.
"'The Beached Verge': On Filming the Unfilmable in Grigori Kozintsev's Hamlet." EnterText: An Interactive Interdisciplinary E-Journal for Cultural and Historical Studies and Creative Work, vol. 1, no. 2, pp. 302-16, Spring 2001
UC users only

Gillespie, David
"Adapting foreign classics : Kozintsev's Shakespeare." In: Russian and Soviet film adaptations of literature, 1900-2001 : screening the word / edited by Stephen Hutchings and Anat Vernitski. London ; New York : RoutledgeCurzon, 2005.
Main Stack PN1997.85.F437 2005

Jorgens, Jack J.
"Image and Meaning in the Kozintsev Hamlet" Literature/Film Quarterly 1:4 (1973:Fall) 307

Teker, Gulsen Sayin.
"Empowered by madness: Ophelia in the films of Kozintsev, Zeffirelli, and Branagh.(Grigori Kozintsev, Franco Zeffirelli, Kenneth Branagh)(Critical essay)." Literature-Film Quarterly 34.2 (April 2006): 113(7).
UC users only

Sokolyansky, Mark
"Grigori Kozintsev’s Hamlet and King Lear." In: The Cambridge companion to Shakespeare on film Cambridge, U.K.; New York: Cambridge University Press, 2000.
MAIN: PR3093 .C36 2000

Hamlet: Laurence Olivier

Albanese, Denise
"School for scandal?: new-media Hamlet, Olivier; and camp connoisseurship." Renaissance Drama 34 [2005]

Alkire, N. L.
"Subliminal Masks in Olivier's Hamlet."Shakespeare on Film Newsletter, vol. 16 no. 1. 1991 Dec. pp: 5.

Ashworth, John
"Olivier, Freud and Hamlet", Atlantic Monthly, n. 183, May 1949, pp. 30-33

Brebach, Emily S.
"From Olivier to Kozintsev: Visual Technique in Transforming Hamlet into Film."PCLS., vol. 12. 1981. pp: 67-81.

Crowdus, Gary
"Hamlet." (Review).Cineaste XXII/3, Dec 96; p.46-47. illus.
Reviewed on the occasion of its laser disc release.

Donaldson, P.
"Olivier, Hamlet and Freud."Cinema Journal XXVI/4, Summer 87; p.22-48.
Psycho-biographical analysis of Laurence Olivier's "Hamlet".

Gross, Sheryl W.
"Olivier's Shakespearean Films: A Selected Bibliography, II."Shakespeare on Film Newsletter, vol. 2 no. 1. 1977 Dec. pp: 1-3.

Kliman, Bernice W.
"A Palimpsest for Olivier's Hamlet." Comparative Drama, vol. 17 no. 3. 1983 Fall. pp: 243-253.

Kliman, Bernice W.
"Olivier's 'Hamlet': A Film-infused Play." Literature/ Film Quarterly, V/4, Fall 77; p.305-14.
Praises Olivier's version as a unique blend of film and play and analyzes its techniques.

Kliman, Bernice W.
"The Spiral of Influence: 'One Defect' in Hamlet."Literature/ Film Quarterly, vol. 11 no. 3. 1983. pp: 159-166.

Lake, James H.
"The effects of primacy and recency upon audience response to five film versions of Shakespeare's 'Hamlet'." (Shakespeare on Film 2000)(William Shakespeare)(Critical Essay)Literature-Film Quarterly v28, n2 (April, 2000):112 (6 pages).
Primacy, or the first adaptation in a series, and recency, or the latest in a series, are posited as having the greatest impact on audience impression. A comparison is made between Laurence Olivier's 1947 adaptation and Kenneth Branagh's 1996 version, with Olivier's ending open to interpretation and Branagh's providing closure.

Schlueter, June.
"The Camera in Gertrude's Closet." In: Shakespeare and the Triple Play: From Study to Stage to Classroom. / edited by Sidney Homan. pp: 150-174. Lewisburg: Bucknell University Press; London: Associated University Presses, c1988.
Main Stack PR2976.S337341 1988
Moffitt PR2976.S33734 1988

Simmons, James R., Jr.
"In the Rank Sweat of an Enseamed Bed": Sexual Aberration and the Paradigmatic Screen 'Hamlets.'" Literature-Film Quarterly v25, n2 (April, 1997):111 (8 pages).

Weller, Philip.
"Freud's Footprints in Films of Hamlet."Literature/ Film Quarterly, vol. 25 no. 2. 1997. pp: 119-24.

Hamlet: Tony Richardson

Duffy, R.A..
"Gade, Olivier, Richardson: visual strategy in Hamlet adaptation." Literature/Film Quarterly Vol IV nr 2 (Spring 1976); p 141-52.
Examines the visual techniques of 3 widely variant versions of Hamlet, (by Gade, Olivier and Richardson) one of Shakespeare's least visual works.

Litton, Glenn
"Diseased Beauty in Tony Richardson's "Hamlet" Literature/Film Quarterly 4:2 (1976:Spring) 108
Analyzes T.R.'s techniques in their contexts and the filmic style in which T.R. adapts Shakespeare's metaphor of decay.

Meier, Paul.
"King of Infinite Space: Richardson's Hamlet(1969)" The Cinema of Tony Richardson: Essays and Interviews / edited by James M. Welsh and John C. Tibbetts; foreword by Jocelyn Herbert. pp: 177-87. Albany, N.Y.: State University of New York Press, c1999. Series title: The SUNY series, cultural studies in cinema/video.
UCB Main PN1998.3.R53 C56 1999

Mullin, Michael (University of Illinois)
"Tony Richardson's "Hamlet": Script and Screen." Literature/Film Quarterly 4:2 (1976:Spring) 123
Describes Richardson's stage and film reworking of Shakespeare's text, which preserves the essence while creating a new 'Hamlet'. Appendix 1: Cuts on the text. Appendix 2: Distribution of cuts.

Hamlet: Franco Zeffirelli/Mel Gibson

Alleva, Richard.
"Hamlet." (movie reviews) Commonweal v118, n6 (March 22, 1991):194.

Corliss, Richard.
"Hamlet." (movie reviews) Time v137, n1 (Jan 7, 1991):73.

Crowl, Samuel
"Zeffirelli's Hamlet: the golden girl and a fistful of dust." Cineaste v24, n1 (Winter, 1998):56 (6 pages).
UC users only
Family romance is at core of Franco Zeffirelli's film adaptation of 'Hamlet.' This is evident in his casting of actors Mel Gibson and Glenn Close in the principal roles, his manipulation of space and landscape, his alteration of the text and his approach to editing. Zeffirelli's context for Close is opera, thus her character Gertrude is portrayed as the golden girl in the midst of a colorless masculine world and at the center of Hamlet's shattered consciousness.

Denby, David.
"Hamlet." (movie reviews)New York v24, n3 (Jan 21, 1991):57 (2 pages).

Dodsworth, Martin.
"Hamlet." (movie reviews)TLS. Times Literary Supplement, n4594 (April 19, 1991):17.

Grant, E.
"Hamlet." (Review).Films in Review (XLII/3-4, Mar-Apr 91; p.108-109.

"Hamlet." (movie reviews)Economist v319, n7704 (April 27, 1991):96.

Kauffmann, Stanley.
"Hamlet." (movie reviews)New Republic v204, n4 (Jan 28, 1991):24 (2 pages).

McCombe, John P.
"Toward an Objective Correlative: The Problem of Desire in Franco Zeffirelli's 'Hamlet.'" Literature-Film Quarterly v25, n2 (April, 1997):125 (7 pages).
Franco Zeffirelli's 1990 film adaptation of William Shakespeare's 'Hamlet' is ultimately disappointing because it excises most of the elements in the play that contribute to the character Hamlet's ambiguities, especially the political dimension that helps to explain his hesitation. Zeffirelli instead offers mother-son desire between Gertrude and Hamlet as the sole reason why the prince hesitates to kill the usurper Claudius. By concentrating on the single overriding dimension of desire, Zeffirelli presents an explanation of Hamlet that is sufficient to explain his actions, but grossly oversimplifies the play.

McGuigan, Cathleen.
"Hamlet." (movie reviews) Newsweek v116, n27 (Dec 31, 1990):61.

Quigley, Daniel.
" 'Double Exposure': The Semiotic Ramifications of Mel Gibson in Zeffirelli's Hamlet." Shakespeare Bulletin, vol. 11 no. 1. 1993 Winter. pp: 38-39.

Richardson, Anne.
"Hamlet." (movie reviews)Sixteenth Century Journal v22, n4 (Winter, 1991):862 (3 pages).

Romney, Jonathan.
"Hamlet." (movie reviews)Sight and Sound v1, n1 (May, 1991):48 (2 pages).

Simon, John.
"Hamlet." (movie reviews) New York v21, n27 (July 11, 1988):49.

Teker, Gulsen Sayin.
"Empowered by madness: Ophelia in the films of Kozintsev, Zeffirelli, and Branagh.(Grigori Kozintsev, Franco Zeffirelli, Kenneth Branagh)(Critical essay)." Literature-Film Quarterly 34.2 (April 2006): 113(7).
UC users only

Tibbetts, John C.
"Breaking the Classical Barrier." (Interview).Literature/Film Quarterly XXII/2, Apr 94; p.136-140. illus.
Franco Zeffirelli recalls his difficulties in raising finance for "Hamlet", and stresses his desire for widespread accessibility to Shakespeare's works.

Travers, Peter.
"Hamlet." (movie reviews) Rolling Stone, n595 (Jan 10, 1991):54.

Henry V

Andrew, James Dudley
"Realism, rhetoric, and the painting of history in Henry V -- Echoes of art: the distant sounds of Orson Welles." In: Film in the aura of art / Dudley Andrew. Princeton, N.J. : Princeton University Press, c1984.
Main Stack PN1995.A494 1984

Andrew, James Dudley
"Realism, rhetoric, and the painting of history in Henry V -- Echoes of art : the distant sounds of Orson Welles." In: Film in the aura of art / Dudley Andrew. Princeton, N.J. : Princeton University Press, c1984.
Main Stack PN1995.A494 1984

Geduld, Harry M.
Filmguide to Henry V [by] Harry M. Geduld. Bloomington, Indiana University Press [1973] Indiana University Press filmguide series, FG-7
Main Stack PN1997.H454.G41

Griffin, C.W.
"Henry V's Decision: Interrogative Texts." (king's decision to declare war on France, as portrayed in three film adaptations of Shakespeare's play) Literature-Film Quarterly v25, n2 (April, 1997):99 (5 pages).
Catherine Belsey's contention, in her 1983 article in 'Literature/Film Quarterly,' that films of Shakespeare's plays must convey a solitary, fixed meaning because of constraints inherent to the medium is incorrect. A careful analysis of the scene depicting the king's decision to declare war on France in three film versions of 'Henry V' indicates that the portrayed ambiguities of Henry's character leave the scene open to conflicting interpretations. The BBC's videotaped 1979 version, the English Shakespeare Company's 1988 film of their staging, and Kenneth Branagh's 1989 production are considered.

McCreadie, Marsha
Henry V": Onstage and On Film." Literature/Film Quarterly 5:4 (1977:Fall) 316

McFarlane, Brian.
"Dallas Bower: The Man Behind Olivier's Henry V." Shakespeare Bulletin, vol. 12 no. 1. 1994 Winter. pp: 45-46.

Manheim, Michael.
"The Function of Battle Imagery in Kurosawa's Histories and the 'Henry V' Films." Literature-Film Quarterly v22, n2 (April, 1994):129 (7 pages).

Nichols, John G.
"The atomic Agincourt: Henry V and the filmic making of postwar Anglo-American cultural relations." Film & History (27:1-4) 1997, 88-94.

Kael, Pauline.
"Henry V" (movie reviews) New Yorker v65, n41 (Nov 27, 1989):104 (2 pages).

Willson, Robert F., Jr.
"War and Relection on War: The Olivier and Branagh Films of Henry V" Shakespeare Bulletin vol. 9 no. 3, 1991 Summer: 27-29

Henry V: Kenneth Branagh

Adelman, Ken.
"Henry V" (movie reviews) Policy Review, n52 (Spring, 1990):80 (4 pages).

Aitken, Ian.
"Formalism and Realism: Henry V (Laurence Olivier, 1944; Kenneth Branagh, 1989)" Critical Survey, vol. 3 no. 3, 1991:260-68

Billington, Michael.
"A 'new Olivier' is taking on Henry V on the screen." (Kenneth Branagh) New York Times v138, sec2 (Sun, Jan 8, 1989):H18(N), H18(L), col 1, 41 col in.

Blake, Richard A.
"Henry V" (movie reviews) America v162, n3 (Jan 27, 1990):64 (2 pages).

Briggs, Julia.
"Henry V" (movie reviews) Times Literary Supplement, n4516 (Oct 20, 1989):1154.

Canby, Vincent.
"Henry V" (movie reviews)New York Times v139, sec2 (Sun, Jan 21, 1990):H1(N), H1(L), col 1, 18 col in.

Cardullo, Bert.
"Henry V" (movie reviews)Hudson Review v43, n2 (Summer, 1990):289 (9 pages).

Collier, Susanne
"Post-Falklands, Post-Colonial: Contextualizing Branagh as Henry V on Stage and on Film" Essays in Theatre/Etudes Theatrales vol. 10 no. 2, 1992 May:143-54

Corliss, Richard.
"King Ken Comes to Conquer: A Brash British Star Rurns Henry V Into an Antiwar War Movie." Time v134, n20 (Nov 13, 1989):119 (2 pages).

Corliss, Richard.
"Henry V" (movie reviews) Time v134, n20 (Nov 13, 1989):119 (2 pages).

Deats, Sara Munson.
"Rabbits and Ducks: Olivier, Branagh, and 'Henry V.'" Literature-Film Quarterly v20, n4 (Oct, 1992):284 (10 pages).
Norman Rabkin has persuasively argued that Shakespeare's 'Henry V' vacillates between depicting Henry as an ideal king and an ambitious and ruthless ruler. The patriotic film adaptation of the play by Laurence Olivier subscribes to the ideal king view, while the anti-war portrayal by Kenneth Branagh casts Henry as ruthless and calculating. Both directors changed the play's text and rearranged parts to achieve their respective aims. Each film is a brilliant comment on Shakespeare's play as well as poignant comment on the social and political conditions of their audiences.

Denby, David.
"Henry V" (movie reviews) New York v22, n47 (Nov 27, 1989):74 (3 pages).

Donaldson, Peter S.
"Taking on Shakespeare: Kenneth Branagh's Henry V." Shakespeare Quarterly v42, n1 (Spring, 1991):60 (12 pages).
Kenneth Branagh's and Laurence Olivier's adaptations of William Shakespeare's 'Henry V' differ in treatment of the main theme, in using Shakespeare's dramatic strategies such as the chorus in character delineation, in technical aspects and in the use of cinematic devices such as the flash back. Olivier suppressed the film medium and presents the film 'Henry V' more as a play. Branagh, on the other hand, presented it in a cinematic form. There are differences between both versions in the depiction of battle scenes and in the use of dramatic props.

Forbes, Jill.
"Henry V" (movie reviews) Sight and Sound v58, n4 (Autumn, 1989):258 (2 pages).
A comparison of the Olivier and Branagh productions.

Friedman, Michael D.
"'Independence Day': the American 'Henry V' and the myth of David." (Shakespeare on Film 2000)(William Shakespeare)(King David of the Bible)(Critical Essay) Literature-Film Quarterly v28, n2 (April, 2000):140 (9 pages).
A comparison is presented between the motion picture 'Independence Day', William Shakespeare's play 'Henry V' and the biblical story of King David. Parallels include how each work incorporates aspects of the popular culture of the era, and in turn influences the development of popular culture.

Geduld, Harry M.
"Henry V" (movie reviews)Humanist v50, n4 (July-August, 1990):43 (2 pages).

Griffin, C.W.
"Henry V's Decision: Interrogative Texts." (king's decision to declare war on France, as portrayed in three film adaptations of Shakespeare's play) Literature-Film Quarterly v25, n2 (April, 1997):99 (5 pages).

Johnson, Brian D.
"Henry V" (movie reviews) Maclean's v102, n47 (Nov 20, 1989):89 (2 pages).

Kauffmann, Stanley.
"Henry V" (movie reviews) New Republic v201, n23 (Dec 4, 1989):28 (3 pages).

Klawans, Stuart.
"Henry V" (movie reviews) Nation v249, n20 (Dec 11, 1989):724 (3 pages).

Kroll, Jack.
"Henry V" (movie reviews) Newsweek v114, n21 (Nov 20, 1989):78 (2 pages).

Lane, Robert.
"'When Blood Is Their Argument': Class, Character, and Historymaking in Shakespeare's and Branagh's Henry V."ELH, vol. 61 no. 1. 1994 Spring. pp: 27-52. UCB users only

Lehmann, Courtney
"Kenneth Branagh at the Quilting Point: Shakespearean Adaptation, Postmodern Auteurism, and the (Schizophrenic) Fabric of 'Everyday Life'"Post Script - Essays in Film and the Humanities 17:1 [Fall 1997] p.6-27
UC users only
"Offers an analysis of the film adaptation of Shakespeare's "Henry V" by the actor-director Kenneth Branagh and discusses how his dual identity as an Irishman and as an Englishman has influenced his aesthetic philosophy toward the production of Shakespeare. Argues that this "schizophrenic" aspect of Branagh's cultural heritage informs his merging of the "high" culture of Shakespeare with the "low" cultural form of film and is indicative of art during the postmodern age." [International Index to the Performing Arts]

Loehlin, James N.
Henry V / James N. Loehlin. Manchester; New York: Manchester University Press; New York: Distributed exclusively in the USA by St.Martin's Press, 1996.
UCB Main PR2812 .L64 1996

Manheim, M.
"The Function of Battle imagery in Kurosawa's Histories and the Henry V Films." (Speech).Literature/Film Quarterly XXII/2, Apr 94; p.129-135. illus., bibliogr.
Given at Seminar no. 16, 'Shakespeare on Film', World Shakespeare Congress, Tokyo 1991: a comparison of the depiction of war in both film versions of 'Henry V' (Olivier/Branagh), and Kurosawa's "Ran" (based on 'King Lear') and "Kagemus