By Lisa Hopkins
Literature and picture reports scholars will locate lots of material
to help their classes and essay writing on how the movie versions
provide various readings of the unique text.
Focussing on various movie types, from Percy Stow's 1908 model to Peter Greenaway's Prospero's Books,
the e-book discusses: the literary textual content in its old context, key
themes and dominant readings of the textual content, how the textual content is customized for
screen and the way diversifications have replaced our analyzing of the original
text. there are many excerpts from the literary textual content, screenplays
and taking pictures scripts, with feedback for comparability. The booklet also
features quotations from authors, screenwriters, administrators, critics and
others associated with the selected movie and textual content.
Read or Download Screen Adaptations: The Tempest: The Relationship Between Text and Film PDF
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Additional info for Screen Adaptations: The Tempest: The Relationship Between Text and Film
Sample text
The Neapolitans in The Tempest are on their way home to Naples from Tunis. They ought, therefore, to be in the Mediter43 Wilson, Caliban, pp. 119–20. 44 Bram Stoker, The Lady of the Shroud [1909] (London: Alan Sutton, 1994), p. 207. 45 See Alan Woods, Being Naked Playing Dead: The Art of Peter Greenaway (Manchester: Manchester University Press, 1996), pp. 17 and 64ff. 46 John Orr, ‘The Art of National Identity: Peter Greenaway and Derek Jarman’, in British Cinema, Past and Present, edited by Justine Ashby and Andrew Higson (London: Routledge, 2000), pp.
Nonetheless, the film is important as a turning point for Mazursky; for in Tempest, he stopped restricting himself to American 9 Anthony Miller, ‘“In this last tempest”: Modernising Shakespeare’s Tempest on Film’, Sydney Studies in English 23 (1997), pp. 24–40, pp. 24 and 26. 10 Buchanan, Shakespeare on Film, p. 169. 11 Douglas Bruster, ‘The Postmodern Theater of Paul Mazursky’s Tempest’, in Shakespeare, Film, Fin-de-Siècle, edited by Mark Thornton Burnett and Ramona Wray (Basingstoke: Macmillan, 2000), pp.
Although Judith Buchanan notes that, ‘Despite being voted most popular film at the Toronto Film Festival on 21 September 1982, Tempest was not, in general, well reviewed’,10 Douglas Bruster, situating the film within the context of Mazursky’s oeuvre as a whole, and especially its habitual interest in infidelity, suggests that ‘Tempest is arguably the first postmodern Shakespeare film, a prologue to, even an explanation of, the many Shakespeare adaptations that followed’,11 especially when Phillip says ‘We’re learning how to live like human beings’ and Miranda replies ‘Humans go to the movies’.