450 anos de William Shakespeare

Então top-dúzia de suas adaptações para cinema: 1- Falstaff (Chimes at Midnight, Orson Welles, 1965) 2- Planeta Proibido (Forbidden Planet, Fred M. Wilcox, 1956) 3- Othello (Orson Welles, 1952) 4- Ran (Akira Kurosawa, 1985) 5- Noite Insana (All Night Long, Basil Dearden, 1962) 6- Trono Manchado de Sangue (Throne of Blood, Akira Kurosawa, 1957) 7-

24 Frames: Band of Brothers (2001)

From this day to the ending of the world, But we in it shall be remembered- We few, we happy few, we band of brothers; For he to-day that sheds his blood with me Shall be my brother; be he ne’er so vile, This day shall gentle his condition; And gentlemen in England now-a-bed Shall

Utopian Thought in William Shakespeare

Although Columbus had discovered the “New World” in 1492, it is interesting to note how relatively uninterested Shakespeare was in the Americas or the western travel that was sweeping Europe. While some Englanders focused their attention and dreams on the uncivilized land in the west, Shakespeare “dreamed and wrote of the old world, of battles

The Sea and the Mirror

Shakespeare and Religion – Aldous Huxley

A name that is a household word, and a word that is on everybody’s lips. How simple and straightforward! But then the inquiring mind starts to ask questions. Who precisely was Shakespeare? And what are the sorts of phenomena to which we apply the words religion and religious? Others abide our question. Thou art free.

W.H. Auden’s The Sea and The Mirror: An Existencial Interpretation of Shakespeare’s characters in The Tempest

While creating and planning The Sea and The Mirror: A Commentary on Shakespeare’s “The Tempest,” W. H. Auden did not desire to limit or confine himself to revealing the archetypal symbolism of the plot and characters in The Tempest or to explaining Shakespeare’s philosophical implications which deal with the Neo-Platonic philosophy. He was interested in

You Can Go Home Again, Can’t You? An Introduction to The Tempest

Introduction Today I wish to provide something of a short introduction to Shakespeare’s Tempest, first, by acknowledging some of the interpretative richness of this play and, second, by outlining two very different approaches. The contrast between them will serve as a final reminder of something we have (I hope) discovered many times in this course,

The Sea and the Mirror: A Commentary on Shakespeare’s The Tempest

“The Sea and the Mirror” represents a diversity of Auden’s intellectual and emotional interests, but as its subtitle indicates, it is first of all “A Commentary on Shakespeare’s The Tempest.” Auden was drawn to The Tempest for many reasons. As he told a lecture audience in his course on Shakespeare at the New School for

24 frames: Prospero’s Books (1991)

Now my charms are all o’erthrown, And what strength I have’s mine own, Which is most faint: now, ‘tis true, I must be here confined by you, Or sent to Naples. Let me not, Since I have my dukedom got And pardon’d the deceiver, dwell In this bare island by your spell; But release me

Prospero’s Books, Genesis and The Tempest – Steven Marx

I. Introduction Peter Greenaway’s film, Prospero’s Books, has developed a small cult following, but most people who try can’t sit through it. If you don’t know the book it’s based on, Shakespeare’s TheTempest, the film is likely to make no sense at all. And if you do know The Tempest, this version is likely to

A Tempestade (The Tempest, 1979)

The only British feature director whose work is in the first rank – Jarman sobre Michael Powell Michael Powell passou mais de vinte anos de sua vida correndo atrás da sua tão sonhada adaptação de The Tempest, do início dos anos 50 até meados dos 70, quando quase chegou às vias de fato com James

Derek Jarman and Lyric Film: The Mirror and the Sea – Steven Dillon

100 Shakespeare Films: Planeta Proibido

The headline over the Evening Standard’s review, ‘Shakespeare takes a journey into space’, neatly sums up this hugely enjoyable and influential picture, with critic Alan Brien praising Cyril Hume for writing ‘the most rumbustiously enjoyable of all Hollywood planetary melodramas, apparently by dressing The Tempest in space suits.’ Shakespeare and Hume both drew on contemporary