Authorizing Shakespeare on film and television gender, class, and ethnicity in adaptation /
I tiakina i:
| Kaituhi matua: | |
|---|---|
| Kaituhi rangatōpū: | |
| Hōputu: | Tāhiko īPukapuka |
| Reo: | Ingarihi |
| I whakaputaina: |
New York :
Peter Lang,
2011.
|
| Rangatū: | Studies in Shakespeare ;
v. 19. |
| Ngā marau: | |
| Urunga tuihono: | An electronic book accessible through the World Wide Web; click to view |
| Ngā Tūtohu: |
Tāpirihia he Tūtohu
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
|
Rārangi ihirangi:
- Introduction : gestures that authorize
- Adaptations of the father: paternal authority goes imperial in Kenneth Branagh's Hamlet and As you like it
- The liberal-humanist Shakespeare in Michael Radford's The merchant of Venice: Ethnic tolerance and the Portia problem
- Deep-fried American dream: class striving under the heat lamp in Scotland, Pa.
- Teen Shakespeare and the trouble with gender: 10 things I hate about you and She's the man
- The Bard and the beeb : televisual authority and Shakespeare retold
- Tracing Hamlet in slings and arrows: Fathers haunt the theater
- It's not tv, it's Shakespeare: literary-historical adaptation in HBO's Rome.