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Rowland Wymer

intervening years were mainly of the tragedies. 5 Although there had been eight silent versions of The Tempest , there had been no previous sound film unless one counts a number of television productions, one of which in 1960 had rather surprisingly cast Richard Burton as Caliban. 6 To some extent Jarman was entering uncharted territory by filming this particular play but he was very aware of the

in Derek Jarman
Cultural politics and art films in post-war Britain
Katerina Loukopoulou

consensus’, a process often considered to have imposed bourgeois cultural values on the masses: in other words, ‘civilising the Caliban’. 13 Historians of 1940s and 1950s British art, however, who have followed inductive methodologies have reached different conclusions: that the post-war cultural policies were steered both by the public’s demand and by utopian visions of a ‘new world’ in which a ‘new art’ and new modes of dissemination would emerge. 14 The Arts Council’s support for films can be seen as part of new institutional policies that

in British art cinema
Thomas Edison’s Frankenstein and John Barrymore’s Dr Jekyll and Mr Hyde
Richard J. Hand

precursor to Boris Karloff and his iconic embodiment of the role for Universal in 1931. The Edison monster is more reminiscent of O. Smith’s interpretation of the monster or numerous stage Calibans from nineteenth-century stage versions of Shakespeare’s The Tempest : an image of unkempt ‘savagery’ who in physique, deportment and movement is antithetical to the graceful and

in Monstrous adaptations