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Representing the supernatural in film adaptations of A Midsummer Night’s Dream
Gayle Allan

A Midsummer Night’s Dream is one of the most often-performed Shakespeare plays, and one of his most popular comedies. 1 It is also a favourite of film directors, with a number of adaptations made since its first known appearance on the silver screen in 1909. 2 The play's popularity is due in no small part to the supernatural elements in the play, and more particularly the supernatural beings that populate it – the

in Shakespeare and the supernatural
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Artists, histories and counter-histories
Stuart Hampton-Reeves

happened’, but perhaps he conveys the intensity of what it was like to be there. A dramatist or a film director might well prefer his version of events for just that reason. The real paradox of history, then, is that it needs the resources of narrative and theatre to give shape and emotional depth to ‘what happened’ even if, in doing so, those details are reworked. Sometimes, history needs a good editor

in Shakespeare’s histories and counter-histories
A challenge to the Festival
Florence March

Happens in Hamlet , Cambridge: Cambridge University Press, [1935] 1990), trans. Dominique Goy-Blanquet, foreword by Patrice Chéreau and Claude Stratz (Paris: Aubier and Nanterre, Théâtre des Amandiers, 1988). Dominique Goy-Blanquet, whose translation was commissioned by Chéreau, recently issued a monograph on the stage and film director: Shakespeare in the Theatre: Patrice Chéreau (London: Bloomsbury, The Arden hakespeare, 2018). Chapter IV in particular is devoted to his production of Hamlet (pp. 87

in Shakespeare and the supernatural
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Shakespeare shaping modern movie genres
R. S. White

points out, it may be a stray detail in Shakespeare’s play – ‘an image, metaphor, character, or atmosphere’ – that will ‘evoke in the film director a resonance with a particular movie genre’, 37 but in such cases it may be that the Shakespearean reference points to a distant source for the movie genre itself. In ‘Shakespeare’s imbrication with cultural processes of adaptation’, 38 Shakespeare’s texts

in Shakespeare’s cinema of love