The Cambridge Companion to Shakespeare on Screen provides a lively guide to film and television productions adapted from Shakespeare's plays. Offering an essential resource for students of Shakespeare, the companion considers topics such as the early history of Shakespeare films, the development of 'live' broadcasts from theatre to cinema, the influence of promotion and marketing, and the range of versions available in 'world cinema'. Chapters on the contexts, genres and critical issues of Shakespeare on screen offer a diverse range of close analyses, from 'Classical Hollywood' films to the BBC's Hollow Crown series. The companion also features sections on the work of individual directors Orson Welles, Akira Kurosawa, Franco Zeffirelli, Kenneth Branagh, and Vishal Bhardwaj, and is supplemented by a guide to further reading and a filmography.

This companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare's plays. The emphasis is on feature films for cinema with strong coverage Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet.

This lively Companion examines the films adapted from, and inspired by, Shakespeare's plays.

This Companion offers a multi-disciplinary approach to literature on film and television. Writers are drawn from different backgrounds to consider broad topics, such as the issue of adaptation from novels and plays to the screen, canonical and popular literature, fantasy, genre and adaptations for children. There are also case studies, such as Shakespeare, Jane Austen, the nineteenth-century novel and modernism, which allow the reader to place adaptations of the work of writers within a wider context. An interview with Andrew Davies, whose work includes Pride and Prejudice (1995) and Bleak House (2005), reveals the practical choices and challenges that face the professional writer and adaptor. The Companion as a whole provides an extensive survey of an increasingly popular field of study.

This Companion explores the remarkable variety of forms that Shakespeare's life and works have taken over the course of four centuries, ranging from the early modern theatrical marketplace to the age of mass media, and including stage and screen performance, music and the visual arts, the television serial and popular prose fiction. The book asks what happens when Shakespeare is popularized, and when the popular is Shakespeareanized; it queries the factors that determine the definitions of and boundaries between the legitimate and illegitimate, the canonical and the authorized and the subversive, the oppositional, the scandalous and the inane. Leading scholars discuss the ways in which the plays and poems of Shakespeare, as well as Shakespeare himself, have been interpreted and reinvented, adapted and parodied, transposed into other media, and act as a source of inspiration for writers, performers, artists and film-makers worldwide.

This book offers a comprehensive, readable and authoritative introduction to the study of Shakespeare, by means of nineteen newly commissioned essays. An international team of prominent scholars provide a broadly cultural approach to the chief literary, performative and historical aspects of Shakespeare's work. They bring the latest scholarship to bear on traditional subjects of Shakespeare study, such as biography, the transmission of the texts, the main dramatic and poetic genres, the stage in Shakespeare's time and the history of criticism and performance. In addition, authors engage with more recently defined topics: gender and sexuality, Shakespeare on film, the presence of foreigners in Shakespeare's England and his impact on other cultures. Helpful reference features include chronologies of the life and works, illustrations, detailed reading lists and a bibliographical essay.

The Cambridge Companion to Shakespeare and Race shows teachers and students how and why Shakespeare and race are inseparable. Moving well beyond Othello, the collection invites the reader to understand racialized discourses, rhetoric, and performances in all of Shakespeare's plays, including the comedies and histories. Race is presented through an intersectional approach with chapters that focus on the concepts of sexuality, lineage, nationality, and globalization. The collection helps students to grapple with the unique role performance plays in constructions of race by Shakespeare (and in Shakespearean performances), considering both historical and contemporary actors and directors. The Cambridge Companion to Shakespeare and Race will be the first book that truly frames Shakespeare studies and early modern race studies for a non-specialist, student audience.