|
::''See also Shakespeare on screen and Hamlet in popular culture.'' Over fifty films of William Shakespeare's ''Hamlet'' have been made since 1900.〔Thompson, Ann and Taylor, Niel ''HAMLET'' (The Arden Shakespeare 3rd Series, Thompson Learning, 2006) Introduction, p.108〕 Seven post-war ''Hamlet'' films have had a theatrical release: Laurence Olivier's ''Hamlet'' of 1948; Grigori Kozintsev's 1964 Russian adaptation; a film of the John Gielgud-directed 1964 Broadway production, ''Richard Burton's Hamlet'', which played limited engagements that same year; Tony Richardson's 1969 version (the first in color) featuring Nicol Williamson as Hamlet and Anthony Hopkins as Claudius; Franco Zeffirelli's 1990 version starring Mel Gibson; Kenneth Branagh's full-text 1996 version; and Michael Almereyda's 2000 modernisation, starring Ethan Hawke. Because of the play's length, most films of ''Hamlet'' are heavily cut, however Branagh's 1996 version used the full text. == Approaches == The full conflated text of ''Hamlet'' can run to four hours in performance, so most film adaptations are heavily cut, sometimes by removing entire characters. Fortinbras can be excised with minimal textual difficulty, and so a major decision for the director of ''Hamlet'', on stage or on screen, is whether or not to include him. Excluding Fortinbras removes much of the play's political dimension, resulting in a more personal performance than those in which he is retained. Fortinbras makes no appearance in Olivier's and Zeffirelli's versions, while in Kozintsev's and Branagh's films he is a major presence.〔Guntner, J. Lawrence: ''Hamlet, Macbeth and King Lear on film'' in Jackson, Russell (ed.) ''The Cambridge Companion to Shakespeare on Film'' (Cambridge University Press, 2000) pp.117-123〕 Another significant decision for a director is whether to play up or play down the incestuous feelings that Freudian critics believe Hamlet harbours for his mother. Olivier and Zeffirelli highlight this interpretation of the plot (especially through casting decisions) while Kozintsev and Branagh avoid this interpretation.〔Guntner, pp.120-123〕 Harry Keyishan has suggested that directors of ''Hamlet'' on screen invariably place it within one of the established film genres: Olivier's ''Hamlet'', he claims, is a film noir; Zeffirelli's version is an action adventure and Branagh's is an epic.〔Keyishian, Harry ''Shakespeare and Movie Genre: The Case of Hamlet'' in Jackson, Russell (ed.) ''The Cambridge Companion to Shakespeare on Film'' (Cambridge University Press, 2000) pp.72-81, at p.75〕 Keyishan adds that ''Hamlet'' films can also be classified by the auteur theory: Olivier's and Zeffirelli's ''Hamlets'', for example, can be viewed among the body of their directorial work.〔Keyishian, pp.73-4〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Hamlet on screen」の詳細全文を読む スポンサード リンク
|