Anamorphic Authorship in Canonical Film Adaptation

A Case Study of Shakespearean Films

  • Robert Geal

Part of the Palgrave Studies in Adaptation and Visual Culture book series (PSADVC)

Table of contents

  1. Front Matter
    Pages i-xii
  2. Robert Geal
    Pages 1-7
  3. From Barthesian and Bakhtinian to Benvenistene Adaptation Studies: Theories of Film Adaptation

    1. Front Matter
      Pages 9-9
    2. Robert Geal
      Pages 11-33
  4. The Drama of Authorship: A Taxonomy of Anamorphic Authorship

    1. Front Matter
      Pages 101-101
    2. Robert Geal
      Pages 183-206
    3. Robert Geal
      Pages 207-219
  5. Back Matter
    Pages 221-247

About this book


This book develops a new approach for the study of films adapted from canonical ‘originals’ such as Shakespeare’s plays. Departing from the current consensus that adaptation is a heightened example of how all texts inform and are informed by other texts, this book instead argues that film adaptations of canonical works extend cinema’s inherent mystification and concealment of its own artifice. Film adaptation consistently manipulates and obfuscates its traces of ‘original’ authorial enunciation, and oscillates between overtly authored articulation and seemingly un-authored unfolding. To analyse this process, the book moves from a dialogic to a psychoanalytic poststructuralist account of film adaptations of Shakespeare’s plays. The differences between these rival approaches to adaptation are explored in depth in the first part of the book, while the second part constructs a taxonomy of the various ways in which authorial signs are simultaneously foregrounded and concealed in adaptation’s anamorphic drama of authorship. 


Shakespeare play theatre cinema original author dialogic psychoanalysis poststructuralist Barthesian Bakhtinian Benvenistene foreknowledge diegetic

Authors and affiliations

  • Robert Geal
    • 1
  1. 1.Department of Film, Media and BroadcastingUniversity of Wolverhampton WolverhamptonUK

Bibliographic information