SHAKESPEARE ON FILM

Prof. Perret ENG 3026/5026

Through study of videotapes of Shakespeare's plays, we will explore how production shapes our understanding of the script and how the change of medium from page to stage to screen makes different effects possible or even necessary. This course will examine interpretations of the text as well as foster awareness of dramatic and film technique. Previous study of Shakespeare is very helpful but not required.

To be a good viewer of Shakespeare on film you need
to see clearly with your mind's eye
what you feel in your heart
and why . . . .

to whet your appetite to see and know the plays better

to help you grasp the performance possibilities latent in a script

to suggest something of the rich ambiguity and complexity of plays that make Shakespeare "not of an age but for all time"

to appreciate why and how an adaptation changes the original

to develop awareness of how basic film techniques work together to illuminate, enhance, distort, or undercut a script

to teach you how to recognize whether a production is "good Shakespeare," "good film," or "good Shakespeare on film"

TEXTS

You may use any scholarly edition of The Complete Works of Shakespeare that has both introductions to the individual plays and footnotes at the bottom of the page or, if you are using paperback single editions, either at the bottom of the page or on the facing page. Please show me your edition to be sure it is acceptable; some are not. If you prefer to use single paperbacks, which I recommend because they encourage note-taking and are easy to carry with you (you must always have the text with you in class), I recommend the Bantam Shakespeare volumes. These will be available in the college bookstore. You must use Bevington's edition (Bantam paperback) for the Hamlet project because texts of this play can differ in as many as a thousand lines.

You are expected to read and/or view the plays before class, so you will be able to discuss the production intelligently and in detail--part of your grade is based upon the quality of your class discussion. What I look for is evidence that you have understood and thought about what you have read and seen, so that your comments go beyond plot summary into analysis.

FYI

The piece of advice most students who have taken this course say they would give to those about to take the course is twofold

Read the plays very carefully before seeing the film

See the films twice, if possible.
The first is required; the second, recommended.

    15% class discussion
     10% written exercises
     15% midterm
     20% group report
     40 % final exam (undergrads)
                research paper/project (grads)

OFFICE HOURS

I am available to you in my office (Dammann 4) -
Tuesday   11:00 to 12:00, 1:45 to 2:45
Thursday   4:30 to   5:30
Friday    11:00 to 12:00, 1:45 to 2:45, 3:00 to 4:00 (by appointment only)
Feel free to drop by or to make an appointment (x5106) if you are concerned about your work. You may also call me at home (914-694-5787) or email me (perretm@mville.edu).

1 Introduction to course

      PREP        Read Much Ado About Nothing,
                           Track character: Claudio, Don John, Leonato, or Margaret
2     CLASS       View MAN, quiz afterward

3 CLASS Study scenes from MAN, quiz afterward
Introduction to The Merchant of Venice,

PREP Read The Merchant of Venice, view Gold's (BBC) version
4 CLASS Discuss serious comedy: the problem of prejudice in MV

PREP View Nunn’s version of MV
5 CLASS Interpreting MV: view scenes from several versions, quiz

PREP Read Henry V
6 CLASS View and discuss scenes from Olivier’s version

PREP View Branagh’s version of Henry V
7 CLASS Study scenes from Branagh’s version

         PREP        Review and rethink
8     CLASS      Midterm, discussion of midterm
                          From stage to screen: the problem of filming a soliloquy

         PREP        Read Hamlet, view Zeffirelli’s version
9     CLASS      Discuss play (briefly)
                                         Editing: verbal and visual

         PREP       View Branagh’s version; questions about "The Mousetrap"
10     CLASS      Study movement from page to stage to film
                                        Small group meetings

11 CLASS Group presentations

15 CLASS Group presentations

16 CLASS Group presentations

PREP Study selected scenes
17 CLASS Evaluating adaptations

18     CLASS      graduate reports
                           evaluating film
                           evaluating this course