A range of mainstream and independent English language film productions of A Midsummer Night's Dream, Romeo and Juliet, Othello, Twelfth Night, and The Merchant of Venice take centre stage in Queering the Shakespeare Film. This study critiques the various representations of the queer - broadly understood as that which is at odds with what has been deemed to be the normal, the legitimate, and the dominant, particularly - but not exclusively - as regards sexual matters, in the Shakespeare film. The movies chosen for analysis correspond deliberately with those Shakespeare plays that, as written texts, have been subjected to a great deal of productive study in a queer context since the beginnings of queer theory in the early 1990s. Thus the book extends the ongoing queer discussion of these written texts to their counterpart cinematic texts. Queering the Shakespeare Film is a much-needed alternative and complementary critical history of the Shakespeare film genre.
Anthony Guy Patricia is Assistant Professor of English in the Department of Humanities at Concord University in Athens, West Virginia, USA.
List of Illustrations Acknowledgements Introduction: The Presence of the Queer in the Shakespeare Film 1 Max Reinhardt and William Dieterle's A Midsummer Night's Dream and the Queer Problematics of Gender, Sodomy, Marriage and Masculinity 2 The Queer Director, Gay Spectatorship and Three Cinematic Productions of Shakespeare's 'Straightest' Play - Romeo and Juliet 3 The Visual Poetics of Gender Trouble in Trevor Nunn's Twelfth Night, Baz Luhrmann's Romeo + Juliet and Michael Hoffman's William Shakespeare's A Midsummer Night's Dream 4 Screening the Male Homoerotics of Shakespearean Romantic Comedy on Film in Michael Radford's The Merchant of Venice and Trevor Nunn's Twelfth Night 5 'I Am Your Own Forever': Iago, Queer Self-Fashioning and the Cinematic Othellos of Orson Welles and Oliver Parker Conclusion Queering the Shakespeare Film in the Early Twenty-First Century Notes Bibliography Index