Chronotopes and Categories of Shakespeare-Inflected Films
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This chapter examines in detail Bakhtin’s theory of the chronotope, then sketches out the differing responses of heritage, Hollywood, independent, and other-languaged filmmakers to the distant plays of Shakespeare in the light of this theory of time-space. The initial focus is on Olivier’s Henry V and then shifts to Branagh’s Henry V and his Hamlet. Tim Blake Nelson’s O and Akira Kurosawa’s Kumonosu-jô (Throne of Blood) offer models of indie and other-languaged co-authorings of Shakespearean tragedy. The chronotopic dialogism revealed in all prepare for the heterogeneous film studies that follow.