Shakespeare on screen



Shakespeare on screen

Macbeth

Édité par Victoria Bladen, Sarah Hatchuel, Nathalie Vienne-Guerrin

:: Résumé    :: Sommaire    :: Détails


Victoria Bladen, Sarah Hatchuel, Nathalie Vienne-Guerrin – Préface.

Dominique Goy-Blanquet – Phantom of the Cinema: Macbeth's Ghosts in the Flesh;

Warren Chernaik – "Instruments of Darkness": Witches and the Supernatural in Four Versions of Macbeth;

Pierre Kapitaniak – Witches and Ghosts in Modern Times Lost? How to Negotiate the Supernatural in Modern Adaptations of Macbeth;

Susan Gushee O'Malley – Macbeth's Witches: Nurses, Waitresses, Feminists, Punk Gore Groupies;

Victoria Bladen – Weird Space in Macbeth on Screen;

Pascale Drouet – "Look how our partner's rapt": Externalizing Rapture in Orson Welles's Macbeth (1948-1950);

Charles R. Forker – Symbolic and Thematic Impoverishment in Roman Polanski's Macbeth;

Boika Sokolova – "Horrible imaginings": Rupert Goold’s Film Adaptation, a Macbeth for the Twenty-First Century;

Adele Seeff – Shakespeare in Mzansi;

Sarah Hatchuel, Nathalie Vienne-Guerrin – Claude Barma’s Macbeth (1959): Shakespeare and the hybridity of the French "dramatique";

Anne-Marie Costantini-Cornede – ". . . [M]ethought/ The wood began to move" (5.5.32-33) or Whatever Happened to Witches and Woods in Akira Kurosawa’s Throne of Blood (1957), Alexander Abela’s Makibefo (1999) and Mark Brozel’s Macbeth (2005): Film style or the Poetics of Displacement;

William C. Carroll – Fleance in the Final Scene of Macbeth: The Return of the Repressed;

Andrew Fleck – “A Barren Sceptre" (3.1.63): Generation, Generations, and Destiny in Maqbool and Global Adaptations of Macbeth;

Gayle Allan – Home Sweet Home: Visual Representation of Domestic Spaces in Macbeth;

Courtney Lehmann – Happily Never After? Women Filmmakers and the Tragedy of Macbeth;

Jennifer Drouin – “Get a Look at Your Wife’s Beautiful Cones”: Lady Macbeth’s Stone Butch Blues and Rural Second-Wave Feminism in Scotland, P.A.

Elinor Parsons – “Struts and frets”: Physical Eloquence in Vladimir Vasiliev’s Macbeth;

Patricia Dorval – Macbeth in Andre Barsacq’s Le Rideau rouge (1952): Mise en Abyme and Acoustic Porousness;

Sarah Hatchuel, Nathalie Vienne-Guerrin – “Is this an umbrella which I see before me?”: Columbo goes to Scotland Yard;

Jennifer Barnes – Art not without Ambition: Stardom, Selfhood and Laurence Olivier’s unmade Macbeth;

José Ramón Diaz Fernandez – Macbeth on Screen: An Annotated Filmo-Bibliography.

116771-27


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