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- Volume 4, Issue 1, 2011
Journal of Adaptation in Film & Performance - Volume 4, Issue 1, 2011
Volume 4, Issue 1, 2011
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Shakespeare in Turkish cinema: A cultural transfer from Hamlet to The Angel of Vengeance (1976)
By Gülşen SayinShakespeare’s works on the Turkish stage have a long and exciting history, whose roots go back to the reign of Ottoman sultans in the nineteenth century. However, Hamlet, Shakespeare’s most frequently performed and filmed play of all times, was visited late by Turkish cinema. In 1976, Metin Erksan appropriated Hamlet as Intikam Melegi/The Angel of Vengeance, also known as Kadin Hamlet/The Female Hamlet. This article, aligning with Russian semiotician Yuri Lotman’s views about the stages of cultural transfer, reviews the reception of Shakespeare’s plays in Turkish culture, and then discusses Metin Erksan’s The Angel of Vengeance (1976), both as an example of Lotman’s theory of intercultural transfer and an amalgam of Turkish cinematographic conventions like family melodrama and the National Cinema movement.
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Introducing Shakespeare: The incipit in Orson Welles’s adaptations
More LessMacbeth, 1948, Othello, 1950, and Chimes at Midnight, 1965) recreated an actualized poetic language that, through symbolic writing, retains the foundations of Shakespeare’s art. Although made at very different stages of his career and exhibiting diverse cinematic styles, Welles’s filmic adaptations of Shakespeare‐s plays share a peculiarity with many of his other works: an engaging incipit that sets the movie’s tone and mood in a uniquely powerful and assertive fashion, oftentimes deviating from the standard conventions of narration. From Citizen Kane (1941) to Touch of Evil (1958), Mr. Arkadin (1955) to The Trial (1962), Welles could have written an encyclopaedia about the opening sequences in the cinema. This essay closely examines these brief segments of film, and argues that they can provide a great deal of information on Welles’s strategies in adapting the ‘playhouse documents’ that we know as the works of William Shakespeare.]]>
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Seeing double: Shakespeare’s polysemy in film. The case of Lady Anne in Richard III
More LessRichard III and in Richard Loncraine’s film Richard III (1995).]]>
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Audience journeys through multiple stories: Adapting King Oedipus for performance
Authors: Jodie Allinson, Michael Carklin and Rob SmithThis article explores the adapting of King Oedipus for performance through processes of improvisation, collaborative devising and physical investigation. Performed across five spaces of the newly built ATRiuM building in Cardiff, and making use of multiple character casting (five Jocastas, three Creons and three Tiresiases), this production offered participants an opportunity to experiment with voice, body, spoken text, music, song and movement as a process of adaptation and production in creating work for a contemporary audience. This article considers the place of ‘text’ within the devising process, the significance of a collective approach to theatre-making and the use of space and audience–performer relationships in the performing of this specific adaptation of King Oedipus.
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Volumes & issues
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Volume 17 (2024)
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Volume 16 (2023)
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Volume 15 (2022)
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Volume 14 (2021)
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Volume 13 (2020)
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Volume 12 (2019)
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Volume 11 (2018)
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Volume 10 (2017)
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Volume 9 (2016)
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Volume 8 (2015)
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Volume 7 (2013 - 2014)
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Volume 6 (2013)
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Volume 5 (2012)
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Volume 4 (2011)
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Volume 3 (2010 - 2011)
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Volume 2 (2009)
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Volume 1 (2007 - 2009)
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Editorial
Authors: Richard Hand and Katja Krebs
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