If honour and principle were the watchwords for Caesars of the nineteenth century, and totalitarianism the core of twentieth, the word which ghosts twenty-first-century productions most clearly is 'spin'. This book traces this evolutionary journey, and discusses productions because they somehow speak to ideas about the play which characterise their period of production, or they have significant features in their own right. It first gives an account of productions of the play prior to the Second World War, right from the stagings at the Globe Theatre's in 1599 to William Bridges-Adams's productions till 1934. The 1937 Orson Welles's production of Julius Caesar, staged at New York's Mercury Theatre was decked out with all the trappings and scenic theatricality of contemporary European Fascism. Shakespeare's play becomes a forum for a consideration of an ethics of American identity with John Houseman's 1953 film. The book discusses three modernist productions of Lindsay Anderson, John Barton and Trevor Nunn, and the new versions of the play for the British TV. The productions under Thatcher's Britain are also focused as well as the unknown accents, especially the Indian and African ones. The productions of Italy, Austria and Germany productions have eschewed direct political association with past or present regimes. The book also presents a detailed study of two productions by a single company, Georgia Shakespeare. In the new millennium, the play's back-and-forth exchange between its long past and the shrill and vibrant insistence of its present, have taken centre stage.
start of the newmillenium’, Schmitt and
Green, op. cit ., 185.
Land, Maritime and Prisoner of War Conventions,
Art. 11, Civilians Convention, Art. 12.
See Ch. 10 re prisoners of war and Ch. 12 re
‘Slaying the dragon of Eskimo status’ before the Supreme Court of Canada, 1939
In the hands of the courts, the definition of
‘Indian’ was embellished still further. Judges
scrutinized variables such as language, lifestyle, skin
pigmentation, attire, diet, occupational history, demeanour, wealth,
religion, place of residence, whether one paid taxes or voted, even
the company one kept. In what seems to a newmillenial perspective
most bizarre of all
-rural estate of a rich mad scientist living in
seclusion. The critical literature itself has little to say of French suburbanites of
Dr Génessier’s social status; as Jean-Claude Boyer notes, affluent suburbs ‘have
been much less studied than working-class banlieues’, a reality he attributes in
large part to the fact that affluent suburbs simply demand less attention than the
‘troubled’ ones typically associated with the Paris region in the newmillenium
(2000: 54). The vast majority of popular representations of the banlieue concern
people who are forced to live there
the ‘working-class strongholds’ were once a point of attraction that contrasted
with bourgeois Paris, in the newmillenium the balance seems to have swung in
the other direction: the suburb once again becomes a place of leisure for Parisians,
when it isn’t simply gentrified outright.
Hervé Le Roux’s Reprise has in turn become a kind of archive for Saint-Ouen
at a moment when the reconversion of the site has not yet fully run its course.
In 1995, the site had not yet re-opened: we remain outside of it, on the threshold.
Unlike the documentary 9–3: Mémoire d
of the emotional movement and not the other way round’
(Stone 2001: 180).
These filmmakers of the newmillenium are also engaged in the
dynamic process of undoing the relationship of film to generic,
political, social, industrial, commercial, artistic and technological
traditions so that new relationships may be attempted. Rearrangements of film grammar, for example, encompass the subversion of
narrative codes, genre conventions, the star system and audience
expectations in the same way in which the Romantics once undid
Classicism. Classical art presented order and
, simultaneously expressed through
the international financial institutions (IFIs) and trade organisations,
manifest itself within these new market arenas? For Yugoslavia, would a
full-scale entry into the global economic order mean a strategy built on
capital- or labour-intensive production? Such uncertainties were bound to
create instabilities and conflict, which, some decades on, have continued
inexplorably not only through the upheavals in Yugoslavia in the 1990s
and newmillenium but also to the hitherto unpredicted stage of North
Africa and the Middle East as the ‘Arab
best-seller. 32 For nearly a century Franklin has given way
to other media-created polar heroes such as Fridtjof Nansen and Robert
Falcon Scott, but as we enter a newmillenium it seems an appropriate
moment to remember his contribution to Arctic exploration and to
reappraise his importance in the evolution of images and imaginings of
the Arctic. His pivotal role in the changing representations of the
political approach throughout the world’. The Third Way is
seen as a trail-blazer for a new global social policy, a new model
for a newmillenium. 6 As President Clinton’s former Secretary for
Labour Robert Reich puts it: ‘We are all third-wayers
However, if the Third Way is important, it is also
difficult to define. 7 As Pierson 8 puts it, the Third Way has been hotly
36 Janet Wilson, Christina Şandru and Sarah Lawson Welsh, ‘General Introduction’,
in Janet Wilson, Christina Şandru and Sarah Lawson Welsh (eds), Rerouting
the Postcolonial: New Directions for the NewMillenium (London, New York:
Routledge, 2010), pp. 1–13.
37 Tlostanova’s homepage: www.tema.liu.se/tema-g/medarbetare-och-kontakt/mad
ina-tlostanova/presentation?l=en (accessed June 2016).
38 See Wilson, Şandru and Welsh, ‘General Introduction’, p. 8.
39 Mignolo and Tlostanova, Learning to Unlearn, p. 12.
40 Ibid., pp. 12ff.
41 Mignolo, ‘Delinking