By Emma French
Breaking from conventional opinions of Shakespeare motion pictures according to both the aesthetics of the movies or on a comparability among the movie and resource textual content, this new research of contemporary Shakespeare videos seeks to provide an explanation for what makes such movies advertisement successes. Focusing rather on 3 sub-genres—the youngster Shakespeare movie, the hybrid Shakespeare movie, and the “faithful” adaptation—the writer argues that the economic luck of the preferred movies stems from blurring the road among the “traditional Shakespeare” and a extra sleek interpretation of the texts.
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Additional info for Selling Shakespeare to Hollywood: the Marketing of Filmed Shakespeare Adaptations from 1989 into the New Millennium
Example text
This study challenges Deborah Cartmell’s conclusion that: Shakespeare certainly brings in the audiences (Jarman’s Tempest and Greenaway’s Prospero’s Books are their most commercially successful films), but in order to gain critical and academic acclaim these movies need to preserve a view of Shakespeare’s conservatism that is arguably epitomized by Olivier’s Henry V. In order to be marketed to film audiences and those responsible for teaching Shakespeare, reverence for the text and the author are prerequisites.
4 Both posters and trailers ‘position’ a film for its potential audience, in terms of genre, stars, content, tone and music. In cinemas, selling shakes ch 2 28 17/1/06 1:59 pm Page 28 s e l l i n g s h a k e s p e a r e t o h o l ly w o o d trailers, unlike posters, have a captive audience. In a sense they represent a capitalist ideal, as they are a form of advertising which purports to be something else: the audience pays to have a product sold to them, in a similar way to product placement within films.
Richard Burt’s belief that Hollywood filmed Shakespeare adaptations represent an infantilised American form of post-colonialism – ‘Mel Gibson and Hollywood are the measure of an intelligent Shakespeare’,1 with its implicit suggestion that casting American stars is inauthentic – not only reminds us how difficult the use of the concept of ‘authenticity’ is as a term in the context of Shakespeare but also points to the danger in implying, albeit playfully, that only a British version of Shakespeare can be ‘correct’.