Cambridge Companions to Literature - Series page

pp ii-ii

The Cambridge Companion to Shakespeare on Screen - Title page

pp iii-iii

Copyright page

pp iv-iv

Contents

pp v-vii

Illustrations

pp viii-viii

Contributors

pp ix-x

Preface

pp xi-xi

Note on References

pp xii-xii

Introduction

pp 1-6

Part I - Adaptation and Its Contexts

pp 7-64

1 - Shakespeare and the Film Industry of the Pre-Sound Era

pp 9-25

2 - Adaptation and the Marketing of Shakespeare in Classical Hollywood

pp 26-39

3 - Shakespeare ‘Live’

pp 40-51

4 - Shakespearean Cinemas/Global Directions

pp 52-64

Part II - Genres and Plays

pp 65-146

5 - The Comedies

pp 67-78

6 - The Environments of Tragedy on Screen: Hamlet, King Lear, Macbeth

pp 79-91

7 - Two Tragedies of Love: Romeo and Juliet and Othello

pp 92-104

8 - ‘Sad Stories of the Death of Kings’: The Hollow Crown and the Shakespearean History Play on Screen

pp 105-118

9 - The Roman Plays on Film

pp 119-133

10 - Screening Shakespearean Fantasy and Romance in A Midsummer Night’s Dream and The Tempest

pp 134-146

Part III - Critical Issues

pp 147-184

11 - Questions of Racism: The Merchant of Venice and Othello

pp 149-160

12 - ‘A Wail in the Silence’: Feminism, Sexuality and Final Meanings in King Lear Films by Grigori Kozintsev, Peter Brook and Akira Kurosawa

pp 161-172

13 - Violence, Tragic and Comic, in Coriolanus and The Taming of the Shrew

pp 173-184

Part IV - Directors

pp 185-248

14 - The Shakespeare Films of Orson Welles

pp 187-199

15 - Kurosawa’s Shakespeare: Mute Heavens, Merging Worlds or the Metaphors of Cruelty

pp 200-212

16 - Zeffirelli’s Shakespearean Motion Pictures: Living Monuments

pp 213-223