Abstract
This chapter traces a mostly other-languaged conversation that ideologically counterpoints Laurence Olivier’s Freudian Hamlet (1948). Taking Marx as a defining shared referent, this Japanese-Russian-Finnish chain of polyglot dialogism spirals back to the anglophone world in Almereyda’s millennial Hamlet (2000). The American director, through his anti-hero, diffidently voices the time-tinted words of Shakespeare within the corporate chronotope of Manhattan. By giving socio-economic dimension to this re-utterance of Shakespeare’s tragedy, the filmmaker fractures traditional approaches, rendering the lines of Hamlet both contemporary and foreign.
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Harrison, K. (2017). Kurosawa, Kozintsev, Kaurismäki, and Almereyda: Hamlet and Transnational Dialogism. In: Shakespeare, Bakhtin, and Film. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-59743-0_4
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DOI: https://doi.org/10.1007/978-3-319-59743-0_4
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Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-59742-3
Online ISBN: 978-3-319-59743-0
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