Queering the Shakespeare Film

Gender Trouble, Gay Spectatorship and Male Homoeroticism

Fiction & Literature, Literary Theory & Criticism, British, Nonfiction, Entertainment, Drama, Shakespeare
Cover of the book Queering the Shakespeare Film by dr Anthony Guy Patricia, Bloomsbury Publishing
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Author: dr Anthony Guy Patricia ISBN: 9781474237048
Publisher: Bloomsbury Publishing Publication: November 17, 2016
Imprint: The Arden Shakespeare Language: English
Author: dr Anthony Guy Patricia
ISBN: 9781474237048
Publisher: Bloomsbury Publishing
Publication: November 17, 2016
Imprint: The Arden Shakespeare
Language: English

A range of mainstream and independent English language film productions of A Midsummer Night's Dream, Romeo and Juliet, Othello, Twelfth Night, and The Merchant of Venice take centre stage in Queering the Shakespeare Film. This study critiques the various representations of the queer – broadly understood as that which is at odds with what has been deemed to be the normal, the legitimate, and the dominant, particularly – but not exclusively – as regards sexual matters, in the Shakespeare film. The movies chosen for analysis correspond deliberately with those Shakespeare plays that, as written texts, have been subjected to a great deal of productive study in a queer context since the beginnings of queer theory in the early 1990s. Thus the book extends the ongoing queer discussion of these written texts to their counterpart cinematic texts. Queering the Shakespeare Film is a much-needed alternative and complementary critical history of the Shakespeare film genre.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

A range of mainstream and independent English language film productions of A Midsummer Night's Dream, Romeo and Juliet, Othello, Twelfth Night, and The Merchant of Venice take centre stage in Queering the Shakespeare Film. This study critiques the various representations of the queer – broadly understood as that which is at odds with what has been deemed to be the normal, the legitimate, and the dominant, particularly – but not exclusively – as regards sexual matters, in the Shakespeare film. The movies chosen for analysis correspond deliberately with those Shakespeare plays that, as written texts, have been subjected to a great deal of productive study in a queer context since the beginnings of queer theory in the early 1990s. Thus the book extends the ongoing queer discussion of these written texts to their counterpart cinematic texts. Queering the Shakespeare Film is a much-needed alternative and complementary critical history of the Shakespeare film genre.

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