{"title":"电影的莎士比亚","authors":"Rebekah Owens","doi":"10.5860/choice.41-6298","DOIUrl":null,"url":null,"abstract":"In this chapter is an exploration of those films in which the setting provides a visual analogy with the preoccupations of the story, but not at the expense of Shakespeare's language. In Julie Taymor’s The Tempest, Justin Kurzel’s Macbeth and Joss Whedon’s Much Ado About Nothing, the reader will be invited to consider how these directors use visual imagery to complement Shakespeare’s figurative language.","PeriodicalId":383705,"journal":{"name":"Studying Shakespeare on Film","volume":"121 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Cinematic Shakespeare\",\"authors\":\"Rebekah Owens\",\"doi\":\"10.5860/choice.41-6298\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In this chapter is an exploration of those films in which the setting provides a visual analogy with the preoccupations of the story, but not at the expense of Shakespeare's language. In Julie Taymor’s The Tempest, Justin Kurzel’s Macbeth and Joss Whedon’s Much Ado About Nothing, the reader will be invited to consider how these directors use visual imagery to complement Shakespeare’s figurative language.\",\"PeriodicalId\":383705,\"journal\":{\"name\":\"Studying Shakespeare on Film\",\"volume\":\"121 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-06-15\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studying Shakespeare on Film\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5860/choice.41-6298\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studying Shakespeare on Film","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5860/choice.41-6298","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
In this chapter is an exploration of those films in which the setting provides a visual analogy with the preoccupations of the story, but not at the expense of Shakespeare's language. In Julie Taymor’s The Tempest, Justin Kurzel’s Macbeth and Joss Whedon’s Much Ado About Nothing, the reader will be invited to consider how these directors use visual imagery to complement Shakespeare’s figurative language.
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