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Romeo and Juliet and romantic tragedy

our point of view, one of the film’s themes is the conflict between the Spanish-derived personality and the Anglo-Saxon, in New York as a city of immigrants. Irene Dash has emphasised the historical moment when the original musical was staged, suggesting that dividing society and countries into polarised enemies was a conscious political strategy during the Cold War in the 1950s: ‘the culture of fear

in Shakespeare’s cinema of love
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The Taming of the Shrew and odd-couple comedy

embarrassed by the play, sometimes apologetic about what they see as its distasteful sexual morality and crude comedy. But the fact remains that the play is embedded firmly in the popular repertory and in countless film adaptations, always reflecting some attitudes to equality and inequality current at the time of performance. There are various possible explanations for the popularity. The politics of the

in Shakespeare’s cinema of love

of ‘marriage’. Although the cultural politics are very different in the play, feminist critics in particular have pointed out that Shylock shares with women an ‘outsider’ status indicated in the need for Portia to disguise herself in order to practise law, and that there is even a tradition of female actors playing the role of the Jew. 19 In She’s the Man (2006), the original device

in Shakespeare’s cinema of love
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Shakespeare shaping modern movie genres

us, on the one hand, an influence can be significant without being overt or explicit; on the other, influence is by no means the only available intellectual tool to hand. Circulating ideas, intellectual currents and various kinds of political unconscious can mould epistemological structures and provide a series of critical foci or contexts for a writer

in Shakespeare’s cinema of love
Romantic comedy

ostentatious ways, and they vary geographically despite the increasing reach of globalism. However, the argument of this chapter is that despite the economic, political, cultural, and historical changes, some central, underlying motifs and patterns link Shakespeare’s romantic comedies and Hollywood romantic comedies in ways that are not entirely coincidental but rather a matter of influence, in some cases

in Shakespeare’s cinema of love
Musical comedy

company of women. Immediately, four women appear on an incidental political mission. Trying to keep to the spirit if not the letter of their vow, the men ‘entertain’ the women al fresco with witty badinage, invitations to dance, and game-playing disguise. The playful spirit is received by the women ‘as bombast and as lining to the time’, but emotional engagement is provocatively left dangling by constant

in Shakespeare’s cinema of love