Rebekah Owens
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摘要

这一章是继上一章之后,讨论一些莎士比亚电影是如何依赖于一个假设,即莎士比亚是如此著名,以至于在电影市场上形成了一个独特的、容易识别的品牌。因此,他的作品可以被重新想象成完全不同的类型,比如青少年电影。也就是说,它们被翻译成专门处理青少年关注的问题和美国高中社会环境的故事。通过这种方式,可以探索戏剧的主要主题,例如蒂姆·布莱克·纳尔逊根据《奥赛罗》改编的《O》中的嫉妒,吉尔·荣格根据《驯妇记》改编的《我讨厌你的十件事》中对女性的对待,以及安迪·菲克曼根据《第十二夜》改编的《她是男人》中的性别认同。尤其是后一部电影,也被用作莎士比亚电影的一个例子,说明莎士比亚电影有时会在其目标上失败,并过度简化了原剧的主题,以至于现代电影和早期现代原作之间几乎没有相似之处。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Teenpic Shakespare
This chapter follows on from the last in discussing how some Shakespeare films rely on an assumption that Shakespeare is so well-known as to form a distinctive, easily recognized brand in the cinema marketplace. Thus, his work can be reimagined in completely different genres such as the teenpic. That is, they are translated as stories that deal exclusively with the preoccupations of teenagers and the social milieu of the American high school. In this way, principal themes of the plays can be explored, such as jealousy in Tim Blake Nelson’s O, based on Othello, the treatment of women in Gil Junger’s Ten Things I Hate About You, based on The Taming of the Shrew and gender identity in Andy Fickman’s She’s The Man, based on Twelfth Night. The latter film in particular is also used as an exemplar of how a Shakespeare film can sometimes fail in its objectives and oversimplify the themes of the original play to the point where there is little resemblance between the modern film and the early modern original.
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