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拍摄的莎士比亚从1899年开始, 赫伯特·比尔博姆爵士为镜头表演了约翰国王的死亡场景。萨拉·伯恩哈德在漫长的职业生涯中多次扮演哈姆雷特, 她为1900年的巴黎博览会拍摄了决斗场景。在默片时代 (1895年-1929年), 英国、法国、德国和美国都拍了几百部莎士比亚电影, 即使没有口语, 莎士比亚也在新媒体中很受欢迎。第一个半个世纪的声音包括许多最受关注的莎士比亚电影, 其中包括--劳伦斯·奥利维尔的《哈姆雷特》和《亨利五世》、《午夜》中的奥森·威尔斯和奇姆斯、黑泽一郎的血王座、波兰斯基的麦克贝思和齐菲雷利的罗密欧还有朱丽叶我们现在正处于莎士比亚在电影中极为丰富和多样的时期, 电影从1989年肯尼斯·隆克琳的《亨利五世》上映开始, 其中包括理查德·隆克琳的《理查德三世》、《朱莉·泰莫的泰图斯》、《齐菲雷利》和《阿尔梅雷达哈姆雷特》等电影电影, 巴兹·卢曼的威廉·莎士比亚的《罗密欧 + 朱丽叶》和《爱情中的莎士比亚》。莎士比亚的摄制现象为文学和媒体研究提出了许多关于改编、作者身份、"经典" 文本的地位及其变体形式、莎士比亚在青年和大众文化中的作用以及从文学和媒体研究的过渡问题。手稿, 书籍和舞台到现代电影媒介及其最近的数字屈折形式。我们的大部分工作将涉及个人和小组分析 "电影文本"----即电影中的特定序列, 并辅之以录像带、dvd、莎士比亚电子档案馆, 以及由麻省理工学院莎士比亚项目下的 mit-microsoft 校园倡议。我们将把这些电影作为艺术作品来研究, 并努力了解它们吸引观众和创造意义的手段----文学、戏剧、表演、电影。以莎士比亚电影为例, 我们将讨论故事如何跨越时间、文化和媒体, 反思这种迁移的好处和局限性。课程将以结构化的讨论方式进行, 并以学生演讲和 "由教师" 的小型讲座为插曲。学生将介绍讨论, 准备剪辑和例子, 主要 "书面" 工作将采取的形式介绍的类和多媒体注释, 以及传统的短文。该类的方法偏差 "阅读文本和电影的" 都很接近。这是一个类, 你的见解将构成工作的主要部分, 并将成为班级讨论的很大一部分的基础。你需要仔细阅读, 仔细观看和听电影, 并制定有效的方式向全班同学传达你的想法。
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| 课程简介: |
Filmed Shakespeare began in 1899, with Sir Herbert Beerbohm Tree performing the death scene from King John for the camera. Sarah Bernhardt, who had played Hamlet a number of times in her long career, filmed the duel scene for the Paris Exposition of 1900. In the era of silent film (1895-1929) several hundred Shakespeare films were made in England, France Germany and the United States, Even without the spoken word, Shakespeare was popular in the new medium. The first half-century of sound included many of the most highly regarded Shakespeare films, among them -- Laurence Olivier's Hamlet and Henry V, Orson Welles' Othello and Chimes at Midnight, Kurosawa's Throne of Blood, Polanski's Macbeth and Zeffirelli's Romeo and Juliet. We are now in the midst of an extremely rich and varied period for Shakespeare on film which began with the release of Kenneth Branagh's Henry V in 1989 and includes such films as Richard Loncraine's Richard III, Julie Taymor's Titus, Zeffirelli and Almereyda's Hamlet films, Baz Luhrmann's William Shakespeare's Romeo + Juliet, and Shakespeare in Love. The phenomenon of filmed Shakespeare raises many questions for literary and media studies about adaptation, authorship, the status of "classic" texts and their variant forms, the role of Shakespeare in youth and popular culture, and the transition from manuscript, book and stage to the modern medium of film and its recent digitally inflected forms. Most of our work will involve individual and group analysis of the "film text" -- that is, of specific sequences in the films, aided by videotape, DVD, the Shakespeare Electronic Archive, and some of the software tools for video annoatation developed by the MIT Shakespeare Project under the MIT-Microsoft iCampus Initiative. We will study the films as works of art in their own right, and try to understand the means -- literary, dramatic, performative, cinematic -- by which they engage audiences and create meaning. With Shakespeare film as example, we will discuss how stories cross time, culture and media, and reflect on the benefits as well as the limitations of such migration. The class will be conducted as a structured discussion, punctuated by student presentations and "mini-lectures" by the instructor. Students will introduce discussions, prepare clips and examples, and the major "written" work will take the form of presentations to the class and multimedia annotations as well as conventional short essays. The methodological bias of the class is close "reading" of both text and film. This is a class in which your insights will form a major part of the work and will be the basis of a large fraction of class discussion. You will need to read carefully, to watch and listen to the films carefully, and develop effective ways of conveying your ideas to the class.
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