- Hardcover: 268 pages
- Publisher: Oxford University Press; New Ed edition (27 April 2000)
- Language: English
- ISBN-10: 0195139585
- ISBN-13: 978-0195139587
- Product Dimensions: 15.5 x 2.3 x 22.4 cm
- Average Customer Review: 1.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 1,921,155 in Books (See Top 100 in Books)
Shakespeare in the Movies: From the Silent Era to Shakespeare in Love (Literary Artist's Representatives) Hardcover – 27 Apr 2000
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He [Brode] includes a substantial number of foreign films, thus departing from the current tendency to focus on mainstream films in English. (Years Work in English Studies)
Clear and opinionated about interpretations and performances. (Sixteenth Century Journal)
About the Author
Douglas Brode is Professor of Film at S.I. Newhouse School of Public Communication, Syracuse University and the author of eighteen books, including Money, Women, and Guns: Crime Movies from Bonnie and Clyde to the Present, The Films of the Eighties, and From Walt to Woodstock: How Disney Created the Counter-Culture, (forthcoming from OUP).
Inside This Book(Learn More)
Top Customer Reviews
I would only recommend this book to someone I hated. Unless there were an acute toilet paper shortage. In that case I could recommend it to many more. Avoid it. There are so many GOOD books on the subject out there. This one takes up a space in the world which could more profitably be occupied by a cow pat.
Most Helpful Customer Reviews on Amazon.com (beta)
Brode reveals a stiff conservatism in what he accepts as legitimate film Shakespeare, generally trashing more experimental films, such as "Titus," on grounds that seem less aesthetic than merely crabby. On the one hand, he celebrates the film director's power to free Shakespeare from the stage to the screen with all its unique resources; on the other hand, he quickly gets prickly and sarcastic when directors push beyond a fairly staid presentation.
He is, finally, capable of making plain factual mistakes in his accounts of the films themselves. For instance, he describes the young boy in "Titus" as returning home at the end of the story's events in a scene of total bombed out nihilism. This simply isn't the case. The young boy, carrying the baby of Aaron the Moor, slowly walks out of the Roman arena into a sunrise in a superb gesture of hope transcending chaos and blood, a scene which Brode seems not have remembered when he was writing his chapter.
Generally speaking, Brode is not a bad observer of film technique - one can learn to watch a movie more closely from his analyses - but the more familiar you are with the works of Shakespeare themselves, the less satisfactory you are likely to find this book.