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Shakespeare shaping modern movie genres

Among these are genres. Genre There are always genres. There are always aesthetic forms. And they always possess their own logic. Even when films were new, they deployed generic and aesthetic conventions from photography, from the theatre, from popular stories, and from numerous other forms of art, entertainment

in Shakespeare’s cinema of love
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Artists, histories and counter-histories

discoveries of the modern age is that, even when events are recorded on film, definitive accounts of that history remain elusive: if anything, film and photography have only stimulated the number of competing interpretations of ‘what happened’. An aspect of this paradox is the disconnection between ‘what happened’ and ‘what it felt like to be there’. The two are not the same and we know from our own

in Shakespeare’s histories and counter-histories
Allusion, anti-pastoral, and four centuries of pastoral invitations

May morning’; whether the shepherds themselves may have had more pressing tasks than performing for the lovers seems not in consideration. On the other hand, Raleigh’s nymph presents the pastoral world as if in time-lapse photography, where all nature withers, dies, and grows cold: If all the world and love were young, And truth in every shepherd’s tongue, These pretty pleasures might me move To live with thee and be thy love. But Time drives flocks from field to fold, When rivers rage and rocks grow cold, And Philomel becometh dumb; The rest complains of cares to

in Literary and visual Ralegh