Citizen Ken: Branagh, Shakespeare, and the movies

Author(s):  
Samuel Crowl

As Kenneth Branagh turns sixty, he finds himself honoured by the English theatrical world as the restored heir to its tradition of the actor-manager, having created a theatre and film career unlike any other. He is an actor-manager-film director who builds on the tradition he inherits from Laurence Olivier, Orson Welles, and Franco Zeffirelli even as he revises it. This overview of his career reveals that he can do small and tidy, but his cinematic imagination first feasts on Hollywood movie genres – noir thrillers, murder mysteries, Disney classics, Superhero fantasies, spy films, musicals, and bio-pics – then feeds his lasting legacy to Shakespeare on film.

Author(s):  
Douglas M. Lanier

Film adaptations of Hamlet have tended to fall into two broad categories, psychological character studies of Hamlet that emphasize Oedipal dynamics, and political readings that portray the prince as a rebellious crusader against various forms of systemic sociopolitical corruption. Of the former group, Laurence Olivier’s 1947 Hamlet has been particularly influential, casting a long shadow across film versions by John Gielgud (1964), Tony Richardson (1969), and Franco Zeffirelli (1990). Notable examples of political screen adaptations include the versions by Akira Kurosawa (The Bad Sleep Well, 1960), Gyorgi Kozintsev (1964), Kenneth Branagh (1996), and Michael Almereyda (2000). This article surveys the history and characteristics of these two styles of adapting Hamlet to the screen, focusing on how specific films have reshaped Shakespeare’s play to respond to specific historical and cultural contexts, to the demands of film as a medium, and to previous film adaptations of the tragedy.


Rizoma ◽  
2016 ◽  
Vol 4 (1) ◽  
pp. 166
Author(s):  
Marcelo Bolshaw Gomes

Analisa-se aqui quatro adaptações de Hamlet, de William Shakespeare, para o cinema: Laurence Olivier (1948); Franco Zeffirelli (1990); Kenneth Branagh (1996) e Michael Almereyda (2000). E se discutem as relações da narrativa com a psicanálise e com a hermenêutica.


2007 ◽  
Vol 4 ◽  
pp. 21-37
Author(s):  
Kristupas Sabolius

Kitybės klausimas dažniausiai kyla iš ego santykio su kitais arba su pasauliu. Šiame straipsnyje daroma prielaida, kad įsivaizdavimo funkcija ištirpdo subjektą ir jame pačiame atveria intersubjektyvią perspektyvą. Šiuo tikslu sugretinami Sartre’o, Husserlio bei Merleau-Ponty įsivaizdavimo funkcijos tyrimai, kuriuose išryškėja vaizdo kaip iš ego centro išslystančios ribos statusas, ir Holivudo filmo „Kovos klubas“ siužetas. Viename iš šios juostos epizodų pasirodantis pingvinas žymi egologinės schizmos akimirką ir tampa fantazijos apsireiškimu ir įsikūnijimu.Išgryninus žaidybinį, savarankišką ir multiformišką charakterį, galime konstantuoti, kad įsivaizdavimas, jei kalbėtume Kanto terminais, yra ne papildanti tarpinė funkcija, bet transcendentalinio subjekto genezėje atlieka paradoksalų „svetimos vidujybės“ arba „vidinės svetimybės“ vaidmenį. Vaizduotė yra katalizatoriaus, kuris, likdamas šalia, įgalina transcendentalinių formų išsikristalizavimą.Pagrindiniai žodžiai: vaizduotė, įsivaizdavimas, fantazija, ego, kitybė, sąmonė.PENGUIN AND PROTEUSImagination as Otherness in meKristupas Sabolius SummaryThe question of Otherness is usually taken into account while discussing the Ego’s relation with Others as well as with the World. This article is based on the premises that the function of phantasy melts the subjectivity, revealing the perspective of intersubjectivity within it. On this purpose Sartre’s, Husserl’s and Merleau-Ponty’s researches on the function of imagination, which elucidate the image as the boundary slipping from the centre of Ego, are compared to the story of Hollywood’ movie „Fight Club“. The penguin, which appears in one of the episodes, registers the moment of egological schism, thus becoming the revelation and incarnation of phantasy. While the playful, autonomous and multiform character of imaginary is cleared out, we can ascertain, speaking in Kantian terms, that it has not a complementary or intermediary function, but, in the genesis of transcendental subject, plays the paradoxical role of „allien innerness“ or „inner alienity“. Thought remaining always beside, imagination is a catalyzer which enables crystallization of transcendental forms.Keywords: imagination, imaginary, phantasy, ego, otherness, consciousness.


2018 ◽  
Vol 6 (1) ◽  
pp. 38-52
Author(s):  
Wirdah Amaliyah Permadi

This study is an analysis of positive politeness strategies in Midnight in Paris movie by Woody Allen. The writer takes positive politeness strategies in a movie because the writer believes that people can learn pragmatics deeper through a movie and wants to see how the positive politeness strategies are employed in a movie through dialogues, since the writer also believes that understanding politeness is important. The aims of this study are to mention and describe the kinds of positive politeness strategies that are employed by the characters in Midnight in Paris movie and to explain the reasons that influence the characters to employ those strategies. This study uses qualitative method. The source of the data is taken from a Hollywood movie entitled Midnight in Paris by Woody Allen. The data is in the form of sentences which deal with utterances related to the positive politeness strategies. The data are utterances employed by the characters from the movie which indicate positive politeness strategies. The data are analyzed into kinds of positive politeness strategies. The writer finds that there are 13 positive politeness strategies in this movie from 50 data. Exaggerate (interest, approval, sympathy with H) strategy is the most dominant kind of positive politeness strategies employed by the characters in Midnight in Paris movie with 15 data, while both assert or presuppose knowledge of and concern for the hearer’s wants strategy and give gifts to H (goods, sympathy, understanding, cooperation) strategy are the lowest with only 1 datum of each strategy.


2014 ◽  
Author(s):  
George P. Kyprianides ◽  
Leoni Kyprianidou
Keyword(s):  

2019 ◽  
Author(s):  
Charlotte P. Tierney ◽  
◽  
Joe D. Collins ◽  
Henrique Momm
Keyword(s):  

1972 ◽  
Vol 11 (2) ◽  
pp. 42
Author(s):  
Linda Provinzano ◽  
Maurice Bessy ◽  
Ciba Vaughn ◽  
Charles Higham
Keyword(s):  

1978 ◽  
Vol 3 (1) ◽  
pp. 89
Author(s):  
Michael Earley ◽  
Richard France
Keyword(s):  

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