Courtney Lehmann

One of the primary symptoms of late capitalism, as Fredric Jameson argues, is the rise of the 'nostalgia film', which projects on a collective level the confusion associated with the individual experience of post-modernity. This cinematic genre betrays a desire to escape the present via retreat into the past, even as its increasing failure to denote the past, by any means other than dead styles, conveys the more insidious problem of 'the waning of our historicity, of our lived possibility of...

Notes

Richard Norton Taylor (2005), 'Warning on spread of state surveillance', The Guardian, 21 April, p. 17. 2. David Lyon (1994), The Electronic Eye The Rise of Surveillance Society, Oxford Polity, pp. 4-5 Gary T. Marx (1988), Undercover Police Surveillance in America, Berkeley University of California Press, p. 219 Mark Poster (1990), The Mode of Information, Cambridge Polity, p. 97. 3. Michel Foucault (1979), Discipline and Punish The Birth of the Prison, trans. Alan Sheridan, Harmondsworth...

Hearts of Darkness

Adapted from a stage play by Jeffrey Hatcher, and following in the wake of related films, Stage Beauty (dir. Richard Eyre, 2004) is a direct reply to the box-office success and Oscar-winning film Shakespeare in Love (dir. John Madden, 1998).2 A review stating that Stage Beauty is 'sexier than Shakespeare in Love' is on the Stage Beauty official film website homepage, and the opening blurb on the back of the US DVD edition of the film reads 'This year's Shakespeare in Love ' The generic,...

Mark Thornton Burnett and Ramona Wray

Shakespeare's Happy Endings, a spoof documentary produced as part of the BBC's 2005 'Shakespea(Re)-Told' season, concludes with a scene outside Holy Trinity Church, Stratford-upon-Avon.1 Here, the erstwhile presenter, Professor Simon Starkman (Patrick Barlow), greets William Shakespeare (Kevin Eldon), welcoming him as the 'man of the millennium' and announcing a surprise celebration in honour of the famous guest. Unfortunately, the church is closed the vicar has forgotten about the party, no...

Shakespeare in Love Actually

To understand the centrality of race to Stage Beauty, and the film's blind spot to it, we first need to locate Eyre's film in the broader context of two genres, the Shakespeare play-within-the-film genre, in which characters in a film rehearse or watch scenes from a play, and the UK US transatlantic romantic comedy convention that uses English and American actors and often includes a Shakespeare citation or reference.10 The commercial success of Shakespeare in Love was due in large measure to...

1

As in King Lear, the heath scene in My Kingdom is the precondition for Sandeman's revelation that he has long served this system as its preferred fa ade, having endowed it with the dignity and decorum that has permitted its totalising agenda to extend from Liverpool to 'any city', as Quick explains. Set in the suburbs, the heath is a distinctly liminal space, represented as both a gateway into and out of Liverpool proper. Quite different from the open and unprotected plain on which Lear...

Ii

Fully inserted into the revolutions of postmodernity, Michael Almereyda's Hamlet 2000 pushes further a concern with observers and the observed, finding capital both in new technologies of representation and a filmic preoccupation with a world in thrall to visual introspection and examination. Covert glances and investigative stares are the norm, and even seemingly innocuous references to sight are compromised in the moment of their articulation. This is keenly exemplified in Gertrude's plea to...

Acknowledgements

Early versions of some of these chapters were given as papers at the Newcastle-upon-Tyne meeting of the British Shakespeare Association. For that opportunity, we would like to thank the organisers and, in particular, Kate Chedgzoy. We are also grateful to Stephen Buhler, Stephen Cavanagh, Tobias D ring, Ewan Fernie, Douglas Lanier, Kenneth Rothwell and Adrian Streete for relevant and productive conversations. At Edinburgh University Press, Jackie Jones has not only been a supportive and...

Info

8 'Into a thousand parts divide one man' Dehumanised Metafiction and Fragmented Documentary in Peter Babakitis' Henry V 146 9 Screening the McShakespeare in Post-Millennial 10 Shakespeare and the Singletons, or, Beatrice Meets Bridget Jones Post-Feminism, Popular Culture and 'Shakespea Re -Told' 185

Stuart Ward Mural At Altnagelvin

Like Almereyda's film, Stephen Cavanagh's Hamlet 2005 is concerned with recollection and the pressures of the past on the present. But here the similarity ends, for, in this Londonderry-based production, the question of memory is deeply riven with disputes and irresolutions specific to a Northern Ireland context. One has only to instance the Saville Enquiry set up to ascertain what 'actually' happened on 'Bloody Sunday', 30 January 1972, when thirteen marchers were killed in Derry by the...