Watching Shakespeare on Television
Language: English
Published by Fairleigh Dickinson University Press, 1993
- First Edition
- Hardcover
- Used
Seller: Southampton Books, Sag Harbor, NY, U.S.A.Southampton Books
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First Edition, First Printing. Not price-clipped. Published by Fairleigh Dickinson University Press, 1993. Octavo. Hardcover. Book is very good. Dust jacket is very good with light shelf wear.100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Sag Harbor, New York.
Seller Inventory # 339081
- Title
- Watching Shakespeare on Television
- Author
- Herbert R. Coursen
- Publisher
- Fairleigh Dickinson University Press
- Publication year
- 1993
- Condition
- Very Good
- Dust jacket
- Dust Jacket Included
- Binding
- Hardcover
- Language
- English
- ISBN 10
- 0838635210
- ISBN 13
- 9780838635216
- Edition
- First Edition.
Shakespeare's scripts are designed to be "open to interpretation." That openness is not the invention of disciples of Foucault or Derrida. The "meaning" of a Shakespeare script can never be fixed; rather, it is a temporal quality that shows how a script reflects, reinterprets, or reemphasizes the cultural and ideological assumptions of a particular moment in history. Shakespeare remains popular, as Branagh's Henry V, Zeffirelli's Hamlet, and a proliferation of Shakespeare's festivals prove. The energy known as Shakespeare cannot be isolated from the culture that constantly reappropriates the scripts and creates new audiences for them. Shakespeare "works" on television because television is a linguistic medium, and because we are becoming accustomed to the diminished scale of the television (and the videocassette), as opposed to the grander dimensions of cinema. Shakespeare survives domestication, but in ways that demand investigation about why and how the scripts can work on television, and about the nature of this medium when it is charged with Shakespearean energy.
Watching Shakespeare on Television looks at Gertrude, a character often clear in performance even if "unwritten" in the script, and at Hamlet's disquisition to Yorick's skull, subject to a wide range of options and interpretations. Other subjects covered are "style" in A Midsummer Night's Dream, particularly the 1982 ART production; the advantages film has over studio productions; and editing scripts for television, with a focus on the Nunn Othello and the Kline Hamlet. In the latter production, long takes contrast with the quicksilver montage technique of Zeffirelli's film version. Another chapter examines Othello as a script demanding a black actor in the lead, and it looks at the Nunn and Suzman versions as cases in point. Closure in Hamlet is analyzed as well: television, the modern medium of political closure, tends to include Fortinbras, as opposed to film which usually excludes him. Another chapter evaluates Prospero's Books, where the importation of television to film tends to erase film's field of depth and results in no improvement, regardless of the trumpeted "technological breakthrough" of high-definition television. Finally, the book peers into the future of Shakespeare's moving image, with attention paid to Peter Donaldson's Interactive Archive at M.I.T.
"Synopsis" may belong to another edition of this title.
Southampton Books
Sag Harbor, NY, U.S.A.
AbeBooks seller since August 1, 2012
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