Guide Shakespeare on Film: An Encyclopedia

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The apotheosis of his work and life coincided roughly with the beginnings of Fantasy as a self-conscious genre. Fantasy has therefore been permeated by WS from its beginnings, both in English-speaking countries and on the European continent.

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The 20th century has seen much critical activity concerning WS, and this has resulted in a proper and necessary contextualizing of the works and humanizing of the man. Such activity has had relatively little effect on the Cauldron of Story, but textual analysis, and a proliferation of editions of WS's works, make WS's bibliography difficult; here we give estimated year of first performance and year of first book publication; when relevant, the first folio — Mr William Shakespeare's Comedies, Histories, and Tragedies coll and the third folio — may be cited.

No attempt is made to trace any further the history of the texts. Only a few of the poems and plays are direct Taproot Texts. Two early narrative poems are of interest. Venus and Adonis , taking its plot from Ovid , describes the love of Venus for Adonis , who spurns her in order to go hunting, where he is killed by a boar.

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In his Shakespeare and the Goddess of Complete Being Ted Hughes argues that, through this late recension of the myth of the Goddess and her consort, WS created part of a personal "Tragic Equation" out of which he generated the dynamic that governs his greatest plays. The first play of fantasy interest is A Midsummer Night's Dream performed circa ; , a Midsummer-Night tale that Crosshatches the world of ancient Greece with that of Faerie. Various pairs, in Love with one another, travel Into the Woods in an effort to escape the strictures of the mundane world; but Puck dazzles their eyes with a Magic juice, causing them to fall in love with the wrong or right partners.

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Poul Anderson 's A Midsummer Tempest reflects the world of the play in an explicit and interesting fashion, as do Clemence Dane 's The Godson: A Fantasy chap , John Crowley 's Little, Big and Neil Gaiman 's — "A Midsummer Night's Dream" Sandman ; most deal in different ways with the questions of how humans would actually live in a world in which the lure of Faerie truly existed. A fine movie version is A Midsummer Night's Dream Neither The History of Henry IV performed circa ; , nor its sequel, Henry IV Part II performed circa ; , have direct fantasy content, but Falstaff has become an Underlier in Heroic Fantasy for the bluff, seemingly cowardly, heavy-drinking amorous older Companion who is much-beloved; the best novel about him is probably Robert Nye 's Falstaff The Inn in which Falstaff's life is mostly led, and which serves as a junction for others, is a central model for the inns so frequently found in Genre Fantasy at those points when plots need to be hurried along.

Shakespeare on Film: An Encyclopedia by Marcus Pitcaithly

There is a Ghost in Hamlet performed circa ; ; exp and there are Witches and Prophecies in Macbeth performed circa ; , but neither play has had a huge effect on subsequent fantasy outside the realms of Parody — as in Terry Pratchett 's work, variously, and in the first episode of the UK tv series The Black Adder The first three of WS's late Romances — Pericles performed circa ; , The Winter's Tale performed circa ; and Cymbeline performed circa ; — incorporate at various points elements of fantasy, and many of the figures in these plays act with the profound ungovernable mysterious simplicity of figures in a Fairytale.

But they are of greatest interest as dramatic experiments. Each constitutes a manipulation of Time , for each takes place over wide intervals. In each, the Story , which may be elaborate and full of coincidences, is so conspicuously foregrounded that each drama's fairytale protagonists seem precisely to be acting out a "Winter's Tale" — seem in other words to be re-enacting a profound yarn whose underlying, prior truth is undeniable, despite its implausibilities.


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Each play has been constructed to climax in the moments of Recognition for which each is famous, moments through which remarkably complex labyrinths of story are successfully brought to book, and the true nature of the world and its coils is revealed "O she's warm", as Leontes utters, awestruck, on recognizing that his long-dead wife is alive, and that his foul jealousy has been enfolded in a larger story.

In each a Healing occurs, reconciling Land and family and marriage. Thus the encyclopedia covers the full range of Shakespeare's presence in popular culture, with an emphasis on the past hundred years. It also offers a selected, general bibliography and an extensive index. Students will find this a handy reference for comparing Shakespeare's plays to modern adaptations of them, while general readers will treasure it as a guide to Shakespeare's enduring legacy.

Contributors had options in providing their introductions and in their inclusion of categories. Initials at the end of the entries indicate entries by contributors other than the original ones. In each chapter the entries are arranged alphabetically play by play or poem , observing chronological order.

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Bibliographical information on each is then provided. Appendixes, Shakespeare in Japanese comics College, university, and public libraries, film studios, and TV stations; all levels.

This groundbreaking set will find a wide audience among teachers, scholars and dramatic artists. Shakespears after Shakespeare is a handsome work, with a judicious selection of illustrations. It comprises a good resource for the advanced or serious researcher. The citations are arranged by the play adapted or alluded to rather than, for example, name or producer of the adaptation.


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  • A few black-and-white illustrations are included. Appendices cite adaptations in Japanese comics and Italian television, and web resources for Shakespeare companies and festivals. The two volumes are paged and indexed together. Students should be pleased that others have done the research to collect this information for their use because much of it was not available earlier It will take a teacher who is a true lover of Shakespeare who makes the Bard live in classes to get students to care about the resources here.

    But going the opposite way, it may be that starting with these resources could encourage students to be more interested. It also may point out how important it is to our culture to be able to understand the humor and this comes only with knowing about the works of Shakespeare. It is fun reading these brief entries if you do enjoy things Shakespeare. Instead it aims to expand the study of Shakespeare adaptations and interpretations beyond the fine arts varieties generally celebrated by scholarly journals and collections This wide-ranging work provides enough information for an entire course on Shakespeare and popular culture, and academic as well as large public libraries will want to add it to their collections.