A History of Shakespeare on Screen chronicles how film-makers have re-imagined Shakespeare's plays from the earliest exhibitions in music halls and nickelodeons to today's multi-million dollar productions shown in megaplexes. Topics include the silent era, Hollywood in the Golden Age, the films of Laurence Olivier and Orson Welles, the television scene to include the BBC plays, the avant-garde cinema of Jarman and Greenaway, and non-Anglophone contributions from Japan and elsewhere. This second edition updates the chronology to the year 2003 and includes a new chapter on such recent films as John Madden's Shakespeare in Love, Kenneth Branagh's Love's Labours Lost, Michael Almereyda's Hamlet, and Billy Morrissette's Scotland, Pa. A filmography, bibliography, and index of names makes it invaluable as a one-volume reference work for specialists, while the accessible style will ensure that it also appeals to a wider audience of Shakespeareans and cinephiles.
Aristophanes' Birds, Wasps and Frogs offer the best-known examples of the animal choruses of Greek comedy of the fifth century BC, but sixth-century vase-paintings of men costumed as cocks, bulls and horses indicated that comedies were only the last phase of a longer tradition. This book suggests that although the earlier masquerades may have had ritual origins, they should be seen also as products of the culture of the archaic aristocratic symposium. The animal choruses of the late fifth century may have been conscious revivals of an earlier tradition. Moreover, the animals of comedy were not the predators found in other literary genres; they were, instead, social animals who showed that nature and culture could co-exist. The Birds, which tells the story of a city foundation, also parodies fifth-century philosophical accounts of the origins of human civilization. Also discussed are the Wasps, Frogs and fragments of lost comedies.
Aristophanes' Birds, Wasps and Frogs offer the best-known examples of the animal choruses of Greek comedy of the fifth century BC, but sixth-century vase-paintings of men costumed as cocks, bulls and horses indicated that comedies were only the last phase of a longer tradition. This book suggests that although the earlier masquerades may have had ritual origins, they should be seen also as products of the culture of the archaic aristocratic symposium. The animal choruses of the late fifth century may have been conscious revivals of an earlier tradition. Moreover, the animals of comedy were not the predators found in other literary genres; they were, instead, social animals who showed that nature and culture could co-exist. The Birds, which tells the story of a city foundation, also parodies fifth-century philosophical accounts of the origins of human civilization. Also discussed are the Wasps, Frogs and fragments of lost comedies.
Federico Borromeo, Cardinal-Archbishop of Milan (1564-1631), is well known as a leading Catholic reformer and as the founder of the Ambrosiana library, art collection, and academy in that city. Less k
