Cover

DEVOURING TIME

Title

Copyright

Dedication

Contents

Figures

Acknowledgments

Introduction: Remembrance of Things Past

PART ONE DEFINING TERMS

1 Why Shakespeare Films Now?

2 The Drive to Realism in Shakespearean Adaptation to Film

PART TWO REMEMBERING ORIGINS

3 Shakespeare’s Prologues on Page and Screen

4 Nostalgia for the Stage in Shakespearean Films

5 Death Rituals in Shakespeare, Almereyda, and Luhrmann

PART THREE DISGUISE, GENRE, AND PLAY

6 Gothic Aspects of Kenneth Branagh’s Hamlet

7 Art and the Grotesque in Julie Taymor’s Titus and Peter Greenaway’s Prospero’s Books

8 Five English Screen Directors’ Approaches to Cross-Dressing in As You Like It and Twelfth Night

9 Propaganda and the Other in Branagh’s Henry V and Fiennes’s Coriolanus

PART FOUR MUSIC AND MEMORY

10 “Sigh No More Ladies”: Shakespeare, Branagh, and Whedon Tackle Issues of Gender and Fidelity in Much Ado About Nothing

11 “O Mistress Mine”: Intercutting in Trevor Nunn’s Twelfth Night

12 Nostalgia in Hoffman’s William Shakespeare’s A Midsummer Night’s Dream and Branagh’s Love’s Labour’s Lost

13 Ariel’s Singing Body as Interpreted by Greenaway and Taymor

Conclusion

Works Cited

Index