The Screen Adaptations series provides an in-depth look at how classic pieces of literature have been adapted for screen. It assesses the ways in which alternative screen interpretations offer up different readings of the original text as well as the methodologies and approaches of filmmakers. Each title in the series collects together a vast array of study material, critical insight and thought-provoking comparisons - from literary context to the afterlife of the screen versions. Shakespeare on Film is a huge area of study and Romeo and Juliet is one of his most popular plays with many teachers using film versions as a way of approaching the text. Focussing in the main on West Side Story and Baz Lurhmann's Shakespeare's Romeo & Juliet, this is a unique and comprehensive insight into the adaptation process providing a vital study aid for students.

From Oscar-winning British classics to Hollywood musicals and Westerns, from Soviet epics to Bollywood thrillers, Shakespeare has inspired an almost infinite variety of films. Directors as diverse as Orson Welles, Akira Kurosawa, Franco Zeffirelli, Kenneth Branagh, Baz Luhrmann and Julie Taymor have transferred Shakespeare's plays from stage to screen with unforgettable results. Spanning a century of cinema, from a silent short of 'The Tempest' (1907) to Kenneth Branagh's 'As You Like It' (2006), Daniel Rosenthal's up-to-date selection takes in the most important, inventive and unusual Shakespeare films ever made. Half are British and American productions that retain Shakespeare's language, including key works such as Olivier's 'Henry V' and 'Hamlet', Welles' 'Othello' and 'Chimes at Midnight', Branagh's 'Henry V' and 'Hamlet', Luhrmann's 'Romeo + Juliet' and Taymor's 'Titus'. Alongside these original-text films are more than 30 genre adaptations: titles that aim for a wider audience by using modernized dialogue and settings and customizing Shakespeare's plots and characters, transforming 'Macbeth' into a pistol-packing gangster ('Joe Macbeth' and 'Maqbool') or reimagining 'Othello' as a jazz musician ('All Night Long'). There are Shakesepeare-based Westerns ('Broken Lance', 'King of Texas'), musicals ('West Side Story', 'Kiss Me Kate'), high-school comedies ('10 Things I Hate About You', 'She's the Man'), even a sci-fi adventure ('Forbidden Planet'). There are also films dominated by the performance of a Shakespearean play ('In the Bleak Midwinter', 'Shakespeare in Love'). Rosenthal emphasises the global nature of Shakespearean cinema, with entries on more than 20 foreign-language titles, including Kurosawa's 'Throne of Blood and Ran', Grigori Kozintsev's 'Russian Hamlet' and 'King Lear', and little-known features from as far afield as 'Madagascar' and 'Venezuela', some never released in Britain or the US. He considers the films' production and box-office history and examines the film-makers' key interpretive decisions in comparison to their Shakespearean sources, focusing on cinematography, landscape, music, performance, production design, textual alterations and omissions. As cinema plays an increasingly important role in the study of Shakespeare at schools and universities, this is a wide-ranging, entertaining and accessible guide for Shakespeare teachers, students and enthusiasts.

Shakespeare is now enjoying perhaps his most glorious--certainly his most popular--filmic incarnation. Indeed, the Bard has been splashed across the big screen to great effect in recent adaptations of Hamlet, Henry V, Othello, Twelfth Night, Romeo and Juliet, Much Ado About Nothing, Richard II, A Midsummer Night's Dream, and of course in the hugely successful Shakespeare in Love. Unlike previous studies of Shakespeare's cinematic history, Shakespeare in the Movies proceeds chronologically, in the order that plays were written, allowing the reader to trace the development of Shakespeare as an author--and an auteur--and to see how the changing cultural climate of the Elizabethans flowered into film centuries later. Prolific film writer Douglas Brode provides historical background, production details, contemporary critical reactions, and his own incisive analysis, covering everything from the acting of Marlon Brando, Laurence Olivier, Richard Burton, and Gwyneth Paltrow, to the direction of Orson Welles, Kenneth Branagh, and others. Brode also considers the many films which, though not strict adaptations, contain significant Shakespearean content, such as West Side Story and Kurosawa's Ran and Throne of Blood. Nor does Brode ignore the ignoble treatment the master has sometimes received. We learn, for instance, that the 1929 version of The Taming of the Shrew (which featured the eyebrow-raising writing credit: "By William Shakespeare, with additional dialogue by Sam Taylor"), opens not so trippingly on the tongue--PETRUCHIO: "Howdy Kate." KATE: "Katherine to you, mug." For anyone wishing to cast a backward glance over the poet's film career and to better understand his current big-screen popularity, Shakespeare in the Movies is a delightful and definitive guide.

Acclaimed as a modern dramatic masterpiece, Rosencrantz & Guildenstern are Dead is the fabulously inventive tale of Hamlet as told from the worm’s-eve view of the bewildered Rosencrantz and Guildenstern, two minor characters in Shakespeare’s play. In Tom Stoppard’s best-known work, this Shakespearean Laurel and Hardy finally get a chance to take the lead role, but do so in a world where echoes of Waiting for Godot resound, where reality and illusion intermix, and where fate leads our two heroes to a tragic but inevitable end. Tom Stoppard was catapulted into the front ranks of modem playwrights overnight when Rosencrantz and Guildenstern Are Dead opened in London in 1967. Its subsequent run in New York brought it the same enthusiastic acclaim, and the play has since been performed numerous times in the major theatrical centers of the world. It has won top honors for play and playwright in a poll of London Theater critics, and in its printed form it was chosen one of the “Notable Books of 1967” by the American Library Association.

An up-to-date survey of Shakespeare's King Lear on screen and the aesthetic, social and political issues raised by screen versions.

The Handbook of Polish, Czech, and Slovak Holocaust Fiction aims to increase the visibility and show the versatility of works from East-Central European countries. It is the first encyclopedic work to bridge the gap between the literary production of countries that are considered to be main sites of the Holocaust and their recognition in international academic and public discourse. It contains over 100 entries offering not only facts about the content and motifs but also pointing out the characteristic fictional features of each work and its meaning for academic discourse and wider reception in the country of origin and abroad. The publication will appeal to the academic and broader public interested in the representation of the Holocaust, anti-Semitism, and World War II in literature and the arts. Besides prose, it also considers poetry and theatrical plays from 1943 through 2018. An introduction to the historical events and cultural developments in Poland, Czechoslovakia, Czech, and Slovak Republic, and their impact on the artistic output helps to contextualise the motif changes and fictional strategies that authors have been applying for decades. The publication is the result of long-term scholarly cooperation of specialists from four countries and several dozen academic centres.

This collection of essays examines the ways in which recent Shakespeare films portray anxieties about an impending global wasteland, technological alienation, spiritual destruction, and the effects of globalization. Films covered include Titus, William Shakespeare's Romeo & Juliet, Almereyda's Hamlet, Revengers Tragedy, Twelfth Night, The Passion of the Christ, Radford's The Merchant of Venice, The Lion King, and Godard's King Lear, among others that directly adapt or reference Shakespeare. Essays chart the apocalyptic mise-en-scenes, disorienting imagery, and topsy-turvy plots of these films, using apocalypse as a theoretical and thematic lens.