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Journal articles on the topic 'Hamley (Firm)'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Milerius, Nerijus. "ŽANRINIO APOKALIPSĖS KINO DEKONSTRUKCIJA A. KUROSAWOS „RASHOMONE“." Problemos 83 (January 1, 2013): 145–58. http://dx.doi.org/10.15388/problemos.2013.0.826.

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Straipsnis skiriamas pastangai peržengti pramoginio apokalipsės kino ribas. Tekste konstatuojama, kad nekomerciniai apokalipsės kino kūriniai neplėtojami pagal vieną formulę, todėl neįmanoma rasti juos vienijančio teminio pagrindo. Vis dėlto nekomercinį apokalipsės kiną suvienytų ne turinys, bet pati pastanga radikalizuoti kinematografines apokalipsės vizijas, kurias komercinis kinas produkuoja kaip standartinių prekių seriją. Radikalizavus pasaulio pabaigos vizijas, nekomerciniai apokalipsės kino kūriniai ima funkcionuoti kaip kapitalistinės pasaulio pabaigos industrijos kritikos įrankiai. Straipsnyje parodoma, kaip komercinis apokalipsės kinas vaizduoja mirtį ir prekiauja žiūrovo nemirtingumu. Tokiai komercinei strategijai priešstatomas santykis į mirtį Šekspyro „Hamlete“ ir Kurosawos „Rashomone“.Atskleidžiamos paralelės tarp „Hamleto“ skaitytojo ir „Rashomono“ žiūrovo. Argumentuojama, kad „Rashomonas“ gali būti interpretuojamas kaip žiūrovo aklumo demaskavimo įrankis. Jo analizę papildžius Žižeko ir Baudrillard’o nuostatomis, fiksuojamas žiūrovo aklumas pramoginiame apokalipsės kine.The Deconstruction of Apocalypse Genre Cinema in Kurosawa’s “Rashomon”Nerijus Milerius SummaryThe paper deals with the effort to go beyond the boundaries of commercial apocalypse film. It is argued that as non-commercial apocalypse films are not based on the single formula it is impossible to find one unifying thematic base for them. Nevertheless, non-commercial apocalypse films are not united not by their content, but by the effort to radicalize the cinematic visions of the apocalypse. Having radicalized the visions of the end of the world, non-commercial apocalypse film begins to function as a critical tool for the analysis of the capitalist end of the world industry. This paper shows how the commercial apocalypse film depicts death and sells immortality to a viewer. Such commercial strategy of the apocalypse film is opposed to the relation with death in Shakespeare’s “Hamlet” and the Akira Kurosawa’s “Rashomon”. In the paper the parallels between a reader of “Hamlet” and a viewer of “Rashomon” are revealed. It is argued that “Rashomon” can be interpreted as a tool to unmask the blindness of the viewer. The analysis of “Rashomon” leads to the notions of Slavoj Žižek and Jean Baudrillard which allow discovering the analogous blindness of the viewer in the commercial apocalypse film.

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Ciraulo, Darlena. "Spaghetti Shakespeare: „Johnny Hamlet” and the Italian Western." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 105–19. http://dx.doi.org/10.1515/mstap-2017-0008.

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The Italian Western, Johnny Hamlet (1968), directed by Enzo G. Castellari, draws on the revenge story of Shakespeare’s tragedy Hamlet for plot and characterization. While international distributors of the film downplayed its connection to highbrow Shakespeare, they emphasized the movie’s violent content and actionpacked revenge narrative, which was typical of the western all’italiana. Johnny Hamlet shares similarities with the brutally violent Django (1966), directed by Sergio Corbucci, whose avenging angel protagonist epitomizes the Spaghetti Western antihero. Although the filmmakers of Johnny Hamlet characterized Johnny as a vindicator, they also sought to develop the “broody” aspect of this gunfighter, one based on Shakespeare’s famously ruminating hero. Using innovative film techniques, Johnny Hamlet shows Johnny as a contemplative pistolero.

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Sharma, Rajesh Kumar. "Patrick J. Cook (2011) Cinematic Hamlet: The Films of Olivier, Zeffirelli, Branagh, and Almereyda." Film-Philosophy 16, no. 1 (December 2012): 307–12. http://dx.doi.org/10.3366/film.2012.0028.

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4

Cook, Amy. "Wrinkles, Wormholes, and Hamlet: The Wooster Group's Hamlet as a Challenge to Periodicity." TDR/The Drama Review 53, no. 4 (November 2009): 104–19. http://dx.doi.org/10.1162/dram.2009.53.4.104.

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The Wooster Group's Hamlet created a space between the 1964 Richard Burton film, Shakespeare's text, and the live event. Cook shows how understanding mirror neurons illuminates the Wooster Group's production.

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CHEANG, WAI FONG. "Women And Visual Representations Of Space In Two Chinese Film Adaptations Of Hamlet." Gender Studies 13, no. 1 (December 1, 2014): 1–21. http://dx.doi.org/10.1515/genst-2015-0001.

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Abstract This paper studies two Chinese film adaptations of Shakespeare’s Hamlet, Xiaogang Feng’s The Banquet (2006) and Sherwood Hu’s Prince of the Himalayas (2006), by focusing on their visual representations of spaces allotted to women. Its thesis is that even though on the original Shakespearean stage details of various spaces might not be as vividly represented as in modern film productions, spaces are still crucial dramatic elements imbued with powerful significations. By analyzing the two Chinese film adaptations alongside the original Hamlet text, the paper attempts to reinterpret their different representations of spaces in relation to their different historical-cultural gender notions.

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6

Kowsar, K. S. Shahanaaz, and Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER." Creativity Studies 14, no. 1 (March 18, 2021): 90–98. http://dx.doi.org/10.3846/cs.2021.11556.

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William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major creative restructuring between the original text and the filmic medium. The restructuring of the adaptation involves shift in the medium, genre, context and culture to suit the differences in area and medium. The director of a film needs to be highly creative to adapt a literary text to make a film. Vishal Bhardwaj is one such contemporary prolific film makers who have successfully adapted Shakespearean plays like Othello, Macbeth and Hamlet into Indian cinema. The research article tries to portray the creativity of a director to recreate a new film out of an existing text (filmic adaptation). The article analyses the concept of conceptual blending creativity process and bricolage in highlighting the creativity of Bhardwaj in adapting Hamlet and localizing it in Indian cinema as Haider (2014).

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7

John, Mochana. "A Comparative Analysis of Gravediggers’ Scene in Shakespeare’s Hamlet and Vishal Bhardwaj’s Haider." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 7. http://dx.doi.org/10.24113/ijellh.v7i12.10226.

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The Gravediggers’ scene in Hamlet performs a dramatic function with the melding of seriousness and comic element. The scene which takes place in the most gripping moment of the play is probably one of the most famous in Shakespeare plays. Apart from serving as a comic relief in the rise of the action, the Gravediggers’ scene also delves in to some of the major themes of the play. This scene also provides a wide scope for direction and performance in theatre and film. Vishal Bhardwaj’s Haider is a modern day adaptation of the play Hamlet which is set amidst the turmoil of Kashmir. The movie was released in 2014 and its main cast includes Shahid Kapoor (Haider), Tabu (Ghazala), Sredha Kapoor (Arshia) and Kay Kay Menon (Khurram). The Gravediggers’ scene in Hamlet is one of the most famous and well acclaimed iconic scenes in Shakespeare plays. This paper will attempt a comparative analysis of Gravediggers’ Scene in Shakespeare’s Hamlet and Vishal Bhardwaj’s Haider.

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8

Bührle, Iris Julia. "Three Hamlet ballets from World War II to the Ukrainian crisis." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 31, 2020): 69–86. http://dx.doi.org/10.1177/0184767820913797.

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Breaking with a tradition of action-filled ballets with a heroic protagonist, a number of 20th- and 21st-century choreographies of Hamlet have probed the psychological and political themes of William Shakespeare’s tragedy. Inspired by theatre and film productions, choreographers have also used the medium’s visual language to comment on Shakespeare’s text and open up its interpretive potentialities. This article analyses three adaptations: Robert Helpmann’s 1942 version for the Sadler’s Wells Ballet, Kenneth MacMillan’s 1988 Sea of Troubles for six former Royal Ballet dancers, and Radu Poklitaru and Declan Donnellan’s iconoclastic 2015 Hamlet for Moscow’s Bolshoi Ballet.

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9

Choi, Jeongmee. "Crossover of Film and Play: The Banquet vs. Hamlet." British and American Language and Literature Association of Korea, no. 123 (December 17, 2016): 189–207. http://dx.doi.org/10.21297/ballak.2016.123.189.

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10

Oliveira, A., and Thiago Martins PRADO. "A PRÁTICA POLÍTICA SHAKESPEARIANA EM HAMLET." Muitas Vozes 09, no. 02 (2020): 666–74. http://dx.doi.org/10.5212/muitasvozes.v.9i2.0015.

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Por meio de uma proposta qualitativa de análise, propõe-se uma investigação do seguinte tema: A prática política shakespeariana em Hamlet. O texto comenta os comportamentos e as estratégias políticas da personagem Claudius na peça Hamlet, de William Shakespeare. Articula-se uma compreensão da personagem shakespeariana a um suporte da crítica política à obra O Príncipe, de Nicolau Maquiavel. Compreende-se que esses diálogos apontam para o entendimento da personagem rei Claudius dentro do teatro shakespeariano sob uma perspectiva da construção do caráter do governante e das suas táticas de conservação e sobrevivência das relações de poder que o permitem rei. Discute-se a evolução e a representatividade da função de rei na peça Hamlet, compreendendo-se que o esforço de Claudius em manter-se no poder firma-se em manter-se no poder e em suas tentativas de edificar um caráter de líder para si e para os seus súditos.

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11

KALU, JOY KRISTIN. "Experiencing Expectation: Perceiving the Future in Performance." Theatre Research International 34, no. 2 (July 2009): 166–72. http://dx.doi.org/10.1017/s0307883309004519.

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This article examines the realization of the future in performance through aesthetic experience. Following the historian Reinhardt Koselleck, who introduces the category of ‘experience’ as the present past, and ‘expectation’ as the present future, in order to formulate a theory of possible histories, I examine the interconnection of different time layers and the potentiality of a performance. I argue that every performance constitutes a space of possibility, defined by a permeation of traces of the past and the future, emergent phenomena characteristic of performance, and a dimension of future inherent in the performative materiality. Hamlet by New York's Wooster Group serves as an example for an analysis focusing on the aesthetic experience of the future in performance. The Hamlet performance proves exceptionally suitable, since the staging is based on a theatrical repetition of the film document of a Hamlet performance long past, and unfolds a complex system of past and future bound time layers.

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12

Ying, Zhang. "IN THE MASK OF A MARTIAL ART FILM: A CHINESE FILM ADAPTATION OF WILLIAM SHAKESPEARE’S HAMLET." Revista Brasileira de Literatura Comparada 22, no. 41 (December 2020): 95–102. http://dx.doi.org/10.1590/2596-304x20202241zy.

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Abstract: The release of Chinese film director Feng Xiao Gang’s The Banquet in 2006 declares the first Chinese Hamlet film adaptation. Feng chooses to sinicize the play and interweaving cultural elements by framing the play into a Chinese martial art film and by applying Chinese Nuo mask and its variation in his filmic interpretation of the play. The frame of martial art film is heavily featured as the Chinese cultural touch deployed by the director in the transformation of a western play into a Chinese film, which proves to be an effective tool for displacing the western cultural elements with Chinese cultural ideology and principles. The use of the Nuo mask motif throughout the film is discussed with the following examples: 1. The director’s choice of using the Chinese Nuo mask in his adaptation of the play-within-the-play scene in the film, displacing the Mousetrap with its Nuo drama counterpart. 2. The director’s re-interpretation of Hamlet’s hesitation and madness, his representation of the Ghost and his symbolic approach to the building of characters by adopting a white paper mask. 3. The director’s transfer from the Ghost of Old Hamlet to copper carved mask symbolization. 4. The director’s building of characterization by using one’s own face as the mask. The framing of martial art film and the adoption of Nuo mask are the tools of sinicization in the process of the intercultural film adaptation of the western classic. The success of the film has explored the connections between the two cultures and challenged the transfer of Chinese culture into a western play.

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13

Teague, Frances. "Hamlet: Film, Television, and Audio Performance ed. by Bernice Kliman." Comparative Drama 23, no. 2 (1989): 195–97. http://dx.doi.org/10.1353/cdr.1989.0020.

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14

Miron, Mirela. "Filmul documentar ca instrument în cercetarea antropologică." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 194–207. http://dx.doi.org/10.47802/amet.2017.31.10.

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Judging by the accounts of the village elders, the custom “The Lads” has only undergone few changes in time, due to social circumstances. The young men start getting together from the very beginning of the Nativity Fast, as always, and rehearse the same carols they learned from the elders, except for the one they sing in church, which must be a different one every year. The number and age range of the young men have also been kept constant throughout the years, as has the performance of the ritual. However, in some years there were as much as three groups of lads, each from a different hamlet. Because musicians are expensive and due to the low number of young men, there was only one team of lads in 2015. Until about 20 years ago, the people receiving the lads in their homes would give them food such as sausages or a smoked pork leg and liquor for the celebration marking the end of the carolling, called ‘conac’ (Romanian for ‘manor’). The fact that the lads stopped receiving food from the villagers led to the disappearance of one of the team members, namely the one who used to carry all the food in bags and who was called ‘the horse’. Another change undergone by the custom is the removal of the tallest lad’s role of dancing with the eldest woman in the household so that the hemp should grow tall. Ever since the cultivation of this source of textile fiber was banned, this role has vanished from the lads’ team. The leader of the lads is called the ’taroste’ and the rule dictates that, unlike all the other team members, who are unmarried, he must be a married man. He is selected freely by the lads, who owe him obedience throughout the three ritual days. He plays an important part not only in coordinating the team, but also in making sure the lads keep up the pace, as they have a long distance to cover on foot in a short interval.

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15

Assay, Michelle. "‘The rumble of continuing life’: Kozintsev’s Hamlet and its distorted reception." Cahiers Élisabéthains: A Journal of English Renaissance Studies 104, no. 1 (February 25, 2021): 3–22. http://dx.doi.org/10.1177/0184767820981095.

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This article challenges central tenets of the Western reception of Grigori Kozintsev’s 1964 screen adaptation of Hamlet. Adding new information derived from published and unpublished archival materials and insights from the film director’s son, it argues that Kozintsev’s intentions were more universal than contemporary political. It serves as a call for caution and for the reconsideration of certain articles of received wisdom, in particular with respect to the film’s supposedly anti-Stalinist language.

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16

Deleuze, Gilles. "Fire poetiske formuleringer, der kunne sammenfatte den kantianske filosofi." Slagmark - Tidsskrift for idéhistorie, no. 9 (February 9, 2018): 5–10. http://dx.doi.org/10.7146/sl.v0i9.104030.

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17

Muse, Amy. "Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction (review)." Comparative Drama 41, no. 4 (2007): 531–33. http://dx.doi.org/10.1353/cdr.2008.0010.

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18

Danson, Lawrence. "Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction (review)." Shakespeare Quarterly 59, no. 1 (2008): 109–11. http://dx.doi.org/10.1353/shq.2008.0009.

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19

Alvim, Luíza Beatriz. "Between genres and styles in the films of Robert Bresson." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 113–36. http://dx.doi.org/10.5195/cinej.2015.127.

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The films of French director Robert Bresson are considered sober and transcendental. However, in A gentle woman (1969) and in Four nights of a dreamer (1972), he included extracts of quite different genres, like a libertine comedy (the extract of film Benjamim by Michel Deville, 1968), a Shakespearean tragedy (a performance of Shakespeare´s Hamlet) and a gangster film (When love possesses us, produced by Bresson himself). In a way, those excerpts represent exactly the opposite of Bresson´s cinema. On the other hand, they still have some familiarity with it. We analyze the approach of those genres in the sequences in Bresson´s films, as well of the styles present in them by the use of music and images of paintings.

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20

Huertas Martín, Victor. "Theatrum Mundi and site in four television Shakespeare films." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (April 16, 2019): 76–88. http://dx.doi.org/10.1177/0184767819837548.

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This article explores metatheatricality and site specificity in four Shakespeare television films produced by Illuminations Media: Gregory Doran’s Macbeth (2001), Hamlet (2009) and Julius Caesar (2012), and Rupert Goold’s Macbeth (2010). Drawing on metatheatrical theory applied to the screen and recent criticism on site-specific theatre, I explore the films as self-referential and self-conscious works embedded in environments that oppose the artifice of drama to the ‘reality’ of normative television film. Shakespeare’s aesthetic metaphor, presented in self-contained theatrical worlds, does not depict autonomous fictions but is disrupted by outside ‘reality’.

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21

Britland, K. "TONY HOWARD. Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction." Review of English Studies 59, no. 238 (March 21, 2007): 150–52. http://dx.doi.org/10.1093/res/hgm125.

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22

Nelson, Laura M. "Screen Adaptations: Shakespeare’s Hamlet: The Relationship between Text and Film by Samuel Crowl." Journal of Dramatic Theory and Criticism 31, no. 1 (2016): 174–76. http://dx.doi.org/10.1353/dtc.2016.0034.

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23

Küppers, Almut, and Maik Walter. "Is Shakespeare a Foreign Language?" Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 1 (January 1, 2012): 146. http://dx.doi.org/10.33178/scenario.6.1.11.

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An Interview with Peadar Donohoe, Artistic Director of Cyclone Repertory Company, Cork Cyclone Repertory Company Ltd. is a core group of actors & technicians based in Cork who are devoted to the art of theatre to serve the wider community through quality productions that entertain and educate. More recently the company has been very successful in Ireland with performances of their ‘pedagogic adaptations’ of plays by William Shakespeare. Scenario readers may also wish to view short films which give a first impression of the unique way in which Cyclone have managed to make Shakespeare’s texts accessible and interesting to Irish secondary school students. The SCENARIO interview with Peadar Donohoe can be downloaded hereFor a short film on Cyclone’s approach to Macbeth click here, for a short film on Hamlet click here

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24

Bennett, Susan. "Godard and Lear: Trashing the Can(n)on." Theatre Survey 39, no. 1 (May 1998): 7–19. http://dx.doi.org/10.1017/s0040557400002994.

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In the late 1990s, the endlessly reinvented Shakespeare has apparently become a popular and successful screenwriter. The recent release of Richard III, William Shakespeare's Romeo + Juliet, Twelfth Night and Hamlet have brought an enthusiastic movie-going public to see, among other things, the Capulets and the Montagues on the beach and Hamlet striding through a cast of thousands at Elsinore. But this is not to suggest that this particular genre success is either new or inappropriate; the collection of artifacts known as Shakespeare (including but not limited to the plays themselves) has long signified as high art dedicated to the education of not just a theatre-going elite nor the mass audiences of popular media, but everyone. On a global scale, Shakespeare means culture or, as Michael Bristol would more wittily have it, Shakespeare is “big time.” This history of the cultural capital that is Shakespeare continues to have a fascination for, and a usefulness to the producers and distributors of films. Thus, to turn Shakespeare from playwright to screenwriter is, culturally speaking, both a pragmatic and predictable strategy. And it is a strategy that has more or less existed as long as film itself.

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Elliott, Aidan. "The ‘Cumberbatch’Hamlet (2)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 93, no. 1 (April 11, 2017): 133–42. http://dx.doi.org/10.1177/0184767817703814.

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One of the many notable aspects of Lyndsey Turner’s production of Hamlet (Barbican Theatre, London, 5 August to 31 October 2015) was the way in which the text was cut and reordered. This article looks in detail at where these cuts fell, which events (and/or lines) were transposed, and what effect the changes had on the narrative. It also argues that Turner’s editorial choices have something in common with the types of changes made by directors of Shakespeare on film over the past 25 years and asks whether this might be the beginning of a trend in theatrical adaptations of the plays.

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Sorin, Cécile. "L’Esquive de Kechiche : de Shakespeare à Marivaux, analyse d’une adaptation cinématographique protéiforme." Études littéraires 45, no. 3 (July 22, 2015): 15–29. http://dx.doi.org/10.7202/1032442ar.

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L’Esquive, un film d’Abdellatif Kechiche, se construit à partir d’emprunts au théâtre. De nature et de modalité diverses, ceux-ci nécessitent la prise en compte des différentes occurrences et des procédés de transformation de textes premiers. Hamlet offre au réalisateur un modèle réflexif ainsi qu’un cadre culturel de valorisation des dialogues. Le Jeu de l’amour et du hasard de Marivaux est adapté et transposé dans un contexte radicalement différent. Cela suscite la mise en place de procédés de transposition diachroniques et synchroniques ainsi que des choix de mise en scène cloisonnant espace théâtral et cadre cinématographique. Appuyée sur les distinctions terminologiques opérées par Gérard Genette et Linda Hutcheon, l’analyse de L’Esquive permet de mettre en valeur la synergie liant le film aux textes premiers de même que le processus de création relatif à son interaction avec le spectateur.

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Bruggeman, Jacob A. "The Hamlet Fire: A Tragic Story of Cheap Food, Cheap Government, and Cheap Lives." Reckoning with Appetite 19 (June 13, 2019): 62–64. http://dx.doi.org/10.17077/2168-569x.1525.

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Benjamin, Stefanie, Paige P. Schneider, and Derek H. Alderman. "Film Tourism Event Longevity: Lost in Mayberry." Tourism Review International 16, no. 2 (November 1, 2012): 139–50. http://dx.doi.org/10.3727/154427212x13485031583939.

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The purpose of this study is to examine a US festival widely known for attracting television fan tourists, build a traveler profile or typology of festival goers, and reflect on how the behavioral segmentation of these tourists may affect the longevity of the film tourism event and the broader planning of the destination community. Specifically, this study examines the Mayberry Days Festival, an annual event held in Mount Airy, North Carolina. Mount Airy is the birthplace and boyhood home of actor, Andy Griffith, whose television series (The Andy Griffith Show) was set in the fictional hamlet of Mayberry. Online survey invitation cards were distributed during the 2010 Mayberry Days Festival to gather data on the sociodemographic characteristics, motivations, perceptions, and economic impact of the attendee to comprehend how sustainable the Mayberry Days Festival will be for Mount Airy. Results suggest that visitors are drawn to Mount Airy for a variety of reasons and that The Andy Griffith Show is not necessarily the main motivator. It is important for the town's tourism promoters not to get “lost in Mayberry” as they plan for alternative marketing and attraction development in the future.

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Berry, Chris. "Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (with DVD). By Jerome Silbergeld. [Seattle: University of Washington Press, 2004. 160 pp. £22.95. ISBN 0-295-98417-1.]." China Quarterly 182 (June 2005): 454–56. http://dx.doi.org/10.1017/s0305741005360267.

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Jerome Silbergeld introduced an art history approach into Chinese film studies with China into Film: Frames of Reference in Contemporary Chinese Cinema in 2000. Hitchcock with a Chinese Face goes further. Like an art historian selecting three seemingly disparate paintings and demonstrating their links, Silbergeld chooses a film each from Hong Kong, Taiwan and mainland China, but argues that they pursue similar aesthetic and political directions. The result is a virtuoso display of intense textual and inter-textual exegesis, informed by an in-depth knowledge of the pre-modern Chinese arts, contemporary Chinese political culture, and globally circulated Western culture (including Hitchcock). It is also a challenge to the discipline of film studies itself.The three films Silbergeld selects for analysis are Lou Ye's 2000 film from mainland China, Suzhou River (Suzhou he); Yim Ho's 1994 Hong Kong film, The Day the Sun Turned Cold (Tianguo nizi); and the final part of Hou Hsiao Hsien's 1995 Taiwan trilogy, Good Men, Good Women (Hao nan, hao nü,). He acknowledges that the project began as a personal indulgence allowing him to explore further some of his favourite films. However, his engagement with the films leads him to argue that each one, in its own way, deconstructs the commonly circulated idea of a unified Chinese culture, engages powerfully with morality, is narratively complex and anti-commercial, mobilizes a cosmopolitan knowledge of world cinema, and displays an unusual degree of interest in individual psychology and oedipality. The latter elements help to ground the comparisons to Hitchcock (as well as to Hamlet, Dostoevsky, Faulkner and others).

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Sarkar, Sreyoshi. "Engendering Protest and Rethinking “Azadi” in Kashmir in Vishal Bhardwaj’s Haider." Meridians 20, no. 1 (April 1, 2021): 90–126. http://dx.doi.org/10.1215/15366936-8913129.

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Abstract Women living in the South Asian conflict zone of Kashmir have been represented by mainstream media and film as mainly victims of the Indian state power’s political and sexual violence, as protestors who are supporting their men’s insurgency in Kashmir, or as aligned with local Islamic militant groups. This obscures their nuanced testimonies, political objectives, and multivalent agencies within the conflict zone. The author shows how Vishal Bharadwaj’s 2014 film Haider, an adaptation of Shakespeare’s Hamlet, disrupts such erasures to highlight Kashmiri women’s lived experiences in the conflict zone at intersections of everyday and extraordinary violence. By close reading scenes from the film via cinematic structure, dialogue, acting, camerawork, and mise-en-scène, the author shows how Haider not only mounts a scathing critique of the Indian occupation of Kashmir but also underscores the need for more capacious considerations of postcolonial feminisms as emergent from lived experiences versus adhering to established checklists approved by Euro-American feminism. The film’s investments in its female protagonists—Ghazala and Arshia—more than the men also uncovers the former’s redefinitions of azadi (freedom) as not just about Kashmiri political autonomy from India and Pakistan but also about nonviolence, equality, and justice for women and by extension all marginalized populations in Kashmir.

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Valkola, Jarmo. "Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films." Baltic Screen Media Review 3, no. 1 (November 1, 2015): 44–63. http://dx.doi.org/10.1515/bsmr-2015-0023.

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Abstract Aki Kaurismäki is arguably the best-known Finnish filmmaker, owing largely to his feature films such as Crime and Punishment (Rikos ja rangaistus, Finland, 1983), Calamari Union (Finland, 1985), Shadows in Paradise (Varjoja paratiisissa, Finland, 1986), Hamlet Goes Business (Hamlet liikemaailmassa, Finland, 1987), Ariel (Finland, 1988), The Match Factory Girl (Tulitikkutehtaan tyttö, Finland, 1990), I Hired a Contract Killer (Finland/ Sweden, 1990), La vie de bohéme (Finland/France/ Sweden/Germany, 1992), Take Care of Your Scarf, Tatiana (Pidä huivista kiinni, Tatjana, Finland/Germany, 1994), Drifting Clouds (Kauas pilvet karkaavat, Finland, 1996), Juha (Finland, 1999), The Man Without a Past (Mies vailla menneisyyttä, Finland, 2002), Lights in the Dusk (Laitakaupungin valot, Finland, 2006) and Le Havre (Finland/France, 2011). A large body of his work has been made in Finland, but also in countries like France and Great Britain. Besides feature films, he has also made documentaries and short films, as well as musical films with the group Leningrad Cowboys. In a broader context, Kaurismäki has a unique place in Finnish and international film history, as well as in media and communication culture. Kaurismäki’s cultural context includes elements that have been turned into national and transnational symbols of social communication and narrative interaction by his stylisation. The director’s cinematic strategy investigates and makes choices evoking a social understanding of characters that has special communicative value. Kaurismäki’s films have been scrutinised for over thirty years.

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Gray, LaGuana. "Bryant Simon. The Hamlet Fire: A Tragic Story of Cheap Food, Cheap Government, and Cheap Lives." American Historical Review 124, no. 2 (April 1, 2019): 712–13. http://dx.doi.org/10.1093/ahr/rhz108.

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Chong, Sylvia Shin Huey. "Vietnam, the Movie: Part Deux." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 371–77. http://dx.doi.org/10.1632/pmla.2018.133.2.371.

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“They cannot represent themselves; they must be represented” (nguyen, sympathizer 179). and so viet thanh nguyen's The Sympathizer invokes Karl Marx's “The Eighteenth Brumaire of Louis Bonaparte,” although the reference is just as likely to be Edward Said's Orientalism, since Marx was concerned with political representation (608), whereas Said was concerned with discursive representation (21). These words frame the important middle act of The Sympathizer, one that focuses on the filming of The Hamlet, a mash-up of Hollywood's sins against not only Vietnamese but also Asians and Asian Americans at large. Reading like a morality play crossed with a backstage musical, this section draws on thinly veiled references to Francis Ford Coppola (the Auteur), Marlon Brando (the hespian), and Martin Sheen (the Idol), who drag the narrator from his newly formed Southern Californian refuge and round up a bunch of stray boat people milling around in the Philippines to put on a movie about the Vietnam War. From the recycling of American military equipment originally sold to Ferdinand Marcos in the Philippines to the reuse of Vietnamese bodies recently shot at and now en route to the United States as refugees, every aspect of the making of The Hamlet illustrates the dangers of allowing oneself to be represented by others. More subtly, The Sympathizer shows how difficult it is to intervene in this regime of representation, especially in the name of authenticity, as it is often deployed by protestors against stereotypes in the media. But if we situate the section on The Hamlet within the overall narrative of The Sympathizer and also in Nguyen's larger critique of memory industries as war industries, we must also understand that the content of the ilm is less important than the dynamics of spectatorship. By linking the narrator's quixotic quest to subvert this film with his repression of his complicity in the rape and torture of a communist agent during the narrator's days as a mole in the South Vietnamese police, Nguyen suggests that watching the Vietnam War is potentially as dangerous as ighting in (or misrepresenting) the war.

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Guţu, Bogdan Lucian. "The Memory of Theatre. Theatricalization of Memory." Theatrical Colloquia 9, no. 2 (December 1, 2019): 176–81. http://dx.doi.org/10.2478/tco-2019-0024.

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Abstract Theatre as living art, the central purpose of which is life, existence, that is, that can perceive matter as a set of images, a meeting point of the spirit with matter, enters the realm of memory, when it requires precise indications necessary for the scenic representation. Memory is a living organism, it is the warm fire of preparing theatre. We perceive Hamlet acting on stage because we remember that perception. Hamlet – the one that we will see in a few years, in a completely different time, in another geography, will be perceived, criticized, understood, by evoking the memories that have survived or have been adapted, transformed, reinterpreted. The memory facilitates the meeting between the actor and the character, the memory facilitates the meeting between the director and the text, between the director and the concept, the memory brings the playwright face to face with his work. In the The Misunderstanding, Albert Camus imagines psychological dimensions where memory plays the role of central mechanism. We are face to face with the absurd man, who through the awareness of death and crime meets his truth, but at the same time we discover a dissociation of the characters that, despite their rigidity and coldness, maintain the appearance of a structural and functional fluidity. The dialogue has the resonance of a frequency that vibrates from the river of collective memory. The individual memory has split and is to be absorbed by another memory, one of the theatre, a universal memory, a memory of a theatre that was born from memory.

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Dixon, Patrick. "The Hamlet Fire: A Tragic Story of Cheap Food, Cheap Government, and Cheap Lives. By Bryant Simon." Journal of Social History 52, no. 4 (January 25, 2018): 1463–65. http://dx.doi.org/10.1093/jsh/shx152.

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Elmore, Bart. "The Hamlet Fire: A Tragic Story of Cheap Food, Cheap Government, and Cheap Lives by Bryant Simon." Journal of Southern History 85, no. 3 (2019): 750–52. http://dx.doi.org/10.1353/soh.2019.0236.

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MCINTYRE, ROY W. "LATE REVISIONS TO WILLIAM SMITH'S 1815 MAP IN THE VICINITY OF CANONBIE AND BEWCASTLE IN THE BORDERLANDS." Earth Sciences History 38, no. 2 (November 1, 2019): 215–31. http://dx.doi.org/10.17704/1944-6178-38.2.215.

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ABSTRACT Map Y is one of a small number of copies of William Smith's 1815 map A Delineation of the Strata of England and Wales with Part of Scotland that are now known to have been made after he was awarded the Wollaston Medal in 1831. These copies therefore postdated the publication of his reduced scale version of the great map in 1820, and of his four county maps of northern England in 1824. Map Y made changes to the strata on the English side of the Border from how they had been portrayed on all earlier copies of the 1815 map. Changes of outcrops were made between the colliery village of Canon-bie, just inside Scotland, and the hamlet of Bewcastle, ten miles across the Border in Cumberland. The addition of geological contact lines to Map Y for these added outcrops are evidence of transferring information from the county map to Map Y. Changes made to Map Y in Northumberland provide clues for copying from the northern county maps, but firm evidence of that having happened is harder to find in that neighbouring county.

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Taylor, Neil. "Looking for Hamlet. By Marvin W. Hunt. New York: Palgrave Macmillan, 2007; pp. v + 230. $27.95 cloth. - “Hamlet” without Hamlet. By Margreta de Grazia. Cambridge: Cambridge University Press, 2007; pp. xi + 267. $101 cloth, $39.99 paper. - Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction. By Tony Howard. Cambridge: Cambridge University Press, 2007; pp. xi + 329. $101 cloth." Theatre Survey 50, no. 1 (April 22, 2009): 150–54. http://dx.doi.org/10.1017/s0040557409001069.

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Moh Saepudin, Dindin. "Living Surah al-‘Aṣr in Limbangan Tengah Village [Membumikan Surat al-‘Asr di Desa Limbangan Tengah]." Proceeding of Community Development 2 (February 21, 2019): 436. http://dx.doi.org/10.30874/comdev.2018.438.

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Student service in a real work program (KKN) needs to be done as an integral and inseparable part of the Student, to prepare themselves to understand the community and be able to contribute to change the situation better. The service done is in Central Limbangan, hamlet 3 covers RW 06, 07 and 08. The research uses a description-experimental method, a type of living approach to the Quran with interview research steps, teaching and community assistance with the aim of living Surat al-asr in society. The results of this study were viewed from education, religious assistance, and community activities. From the field of education is being able to memorize the Surah al-Asr for students aged 7-12 years, in the field of religious assistance the citizens of the community have practiced surah al-‘asr, from virtuous attitudes, advising each other in truth, and being patient. It can be seen from the pengajian majelis ta'lim bapa / mother doing good deeds by studying and providing food for the congregation, as well as being patient in studying. Whereas in the field of community activity there are still some who have not been able to practice the sura al-'asr, such as community service activities which are the obligation of the community members in a village to protect the environment, the people have not yet realized the importance of cleanliness. firm and consistent in conducting community work activities by RW chairman.

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Kamaralli, Anna. "Tony Howard. Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction. Cambridge: Cambridge University Press, 2007. Pp. 319. $90.00 (cloth)." Journal of British Studies 47, no. 2 (April 2008): 482–83. http://dx.doi.org/10.1086/588366.

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OLIVER, KENDRICK. "Atrocity, Authenticity and American Exceptionalism: (Ir)rationalising the Massacre at My Lai." Journal of American Studies 37, no. 2 (August 2003): 247–68. http://dx.doi.org/10.1017/s0021875803007102.

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On the morning of 16 March 1968, the men of Charlie Company, 11th Light Infantry Brigade, Americal Division, US Army, entered the village of Son My, on the coast of Central Vietnam. The company was led by Captain Ernest Medina. In charge of the company's 1st Platoon was Lieutenant William Calley. The company encountered no enemy forces, no opposing fire of any kind. Its only casualty was self-inflicted. Nevertheless, by early afternoon, over 400 villagers lay dead. Those killed were – almost exclusively – either women, old men or small children. For many of the women, rape had preceded death. Other victims had been tortured and mutilated, then killed. Much of the killing, though not all, had occurred in the collection of hamlets known by the Americans as My Lai 4 and had been conducted by 1st Platoon.

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Jackson-Schebetta, Lisa. "Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction. By Tony Howard. Cambridge: Cambridge University Press, 2007. Pp. xi + 329. £50/$90 Hb." Theatre Research International 33, no. 2 (July 2008): 208–9. http://dx.doi.org/10.1017/s030788330800374x.

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Ewen, Shane. "Bryant Simon, The Hamlet Fire: A Tragic Story of Cheap Food, Cheap Government, and Cheap Lives. New York: The New Press, 2017. 320pp. $26.95 hbk." Urban History 46, no. 1 (December 27, 2018): 176–78. http://dx.doi.org/10.1017/s0963926818000706.

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44

Jackson, Russell. "Tony Howard Women as Hamlet: Performance and Interpretation in Theatre, Film, and FictionCambridge: Cambridge University Press, 2007. 329 p. £50. ISBN: 0-521-86466-6." New Theatre Quarterly 23, no. 4 (November 2007): 427–28. http://dx.doi.org/10.1017/s0266464x07220330.

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Holderness, Graham. "Introduction." Critical Survey 33, no. 1 (March 1, 2021): 1–7. http://dx.doi.org/10.3167/cs.2021.330101.

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In Britain, from the nineteenth century onwards, the default ‘setting’ for Shakespeare’s plays (by which I mean costume, mise-en-scène, and assumed historical and cultural context) has been medieval and early modern: the time of the plays’ composition (late sixteenth and early seventeenth centuries) or the time of their historical location (medieval Britain or Europe, ancient Greece or Rome, etc.). In this visual and physical context, Twelfth Night would normally be performed or imagined in Elizabethan or Jacobean, Macbeth and Hamlet in medieval, Julius Caesar in ancient Roman dress and settings. In the historical context of their original production, the plays were performed in contemporary dress with minimal mise-en-scène; through the Restoration and eighteenth century in fashionable modern dress and increasingly naturalistic settings. Today in Britain, Shakespeare can be performed in any style of costume, setting and cultural context, from the time of the plays’ reference to the immediate contemporary present, and often in an eclectic blend of some or all. But strong forces of tradition and cultural memory tie the plays, in their visual and physical realisation as well as their language, to the medieval and early modern past. We see this attachment in film versions of the plays and of Shakespeare’s life. We dress Shakespeare in the costumes of all the ages, but we know that he truly belongs, as in the various portraits, in doublet and ruff.

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NORTON, BARLEY. "Mê Thảo Thời Vang Bóng (The Glorious Time in Mê Thảo Hamlet). 2002. Directed by Việt Linh, 108 minutes. Vietnam: Hãng Phim Giải Phóng (Liberation Film Company)." Yearbook for Traditional Music 52 (November 2020): 241–45. http://dx.doi.org/10.1017/ytm.2020.21.

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Jones, Keith. "Shakespeare on Screen: “Macbeth.” ed. by Sarah Hatchuel, Nathalie Vienne-Guerrin, and Victoria Bladen, and: Screen Adaptations: Shakespeare’s “Hamlet.” The Relationship between Text and Film by Samuel Crowl." Shakespeare Quarterly 66, no. 2 (2015): 244–47. http://dx.doi.org/10.1353/shq.2015.0014.

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Maknun, Tadjuddin, M. Dalyan Tahir, and Ita Suryaningsih. "Cultural Dimension of Black Representation of Ammatoa Community: Study of Cultural Semiotics." ELS Journal on Interdisciplinary Studies in Humanities 3, no. 4 (December 30, 2020): 651–60. http://dx.doi.org/10.34050/elsjish.v3i4.12346.

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One of the community groups in South Sulawesi Province, to be precise in Benteng Hamlet, Tana Toa Village, Kajang District, Bulukumba Regency is known as the Ammatoa community. This community is unique compared to other community groups in Bulukumba Regency, which always appears in black traditional clothes. Of course, this phenomenon raises academic questions as to why the Ammatoa community always appears in traditional black clothes. In fact, apart from always appearing in black, the Ammatoa community also has a white identity color, especially in “pacaka pute” (knee-length pants). However, this paper only focuses on black representations. This paper aims to examine the hidden dimension behind the black representation of the Ammatoa community in Bulukumba Regency, South Sulawesi. To analyze the cultural dimension in question, the semiotic theory of culture is used. Data were collected by means of participatory observation and interviews. The participatory observation method is carried out by directly observing the attitudes and patterns of daily life actions of the Ammatoa community. The interview method was carried out by interviewing the customary leader and several other community members about the cultural system or cultural value that underlies the appearance of the all-black clothing. Both methods are accompanied by audiovisual recording and note-taking techniques. Data were analyzed qualitatively - interpretatively. The results showed that the representation of black in the traditional clothing of the Ammatoa community has a symbolic meaning: (1) human life eventually becomes 'dark'; (2) the attitude of “sabbarak” (patient) , “gattang” (firm), “lambusuk” (honest), and “pisona” (surrender); (3) “tallasak kamase-mase ri lino” ('living unpretentiously in the world) and “kalumannyang kalupepeang allo ri boko” (rich in the afterlife), “inne lino pammari-mariangji” (this world is just a stopover), “akherak pammantang karakkang” (afterlife is an eternal place) . This concept is embedded in the oral folklore “pasang ri Kajang” 'messages (rules / norms) for the Kajang community'. In addition, there are pairs of signs of opposition (binnery opposotion), namely “pute”' (white) x “lekleng” (black / dark); “ammumba” (rising) x “sakra” (setting); “kamase-mase” (unpretentious) x “kalumannyang” (rich); “singarak” (light) x “sassang” (dark); “lino” ('world) 'x “akherak” (afterlife); “tallasak” (alive) x “mate” (dead).

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Nugroho, Anendha Destantyo, Muhammad Zakky Faza, and Paulus Agus Winarso. "ANALISIS KONDISI METEOROLOGI TERKAIT KEJADIAN KEBAKARAN HUTAN DI LERENG GUNUNG MERBABU." Prosiding SNFA (Seminar Nasional Fisika dan Aplikasinya) 3 (February 28, 2019): 24. http://dx.doi.org/10.20961/prosidingsnfa.v3i0.28504.

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<p class="AbstractEnglish"><strong>Abstract:</strong>. There was a fire in the land and forest of the Gunung Merbabu National Park in Semarang Regency, Central Java. The fire burned the land on Sunday, October 14 2018 afternoon, the area of land in the forest area of Mount Merbabu which was burned reached 100 hectares. The number is predicted to increase because the flames have not been extinguished. Fires in the Mount Merbabu National Park not only damage the forest ecosystem. The fire also decided the pipeline of clean water flowing to a number of hamlets in Batur Village. Land and forest fires are supported by meteorological drought, so studies need to be done to find out the magnitude of meteorological factors that support forest fires and the extent of burning areas. This research was conducted by analyzing the results of meteorological observations obtained from AWS (Automatic Weather Station) installed not far from the slopes of Mount Merbabu, including AWS Pakem Yogyakarta, AWS Borobudur Magelang, AWS Undip Semarang. In addition to the analysis of surface observation data, this study also analyzes the atmospheric conditions of surface wind maps, Rainy Days, and observations of satellite images during the occurrence of land and forest fires in Mount Merbabu National Park.</p><p class="KeywordsEngish"><strong>Abstrak:</strong> Terjadi kebakaran lahan dan hutan Taman Nasional Gunung Merbabu di Kabupaten Semarang, Jawa Tengah. Api membakar lahan pada Minggu 14 Oktober 2018 sore, luas lahan di kawasan hutan Gunung Merbabu yang terbakar mencapai 100 hektar. Jumlah itu diprediksi bertambah karena kobaran api belum berhasil dipadamkan. Kebakaran di Taman Nasional Gunung Merbabu tidak hanya merusak ekosistem hutan. Kebakaran juga memutuskan jaringan pipa air bersih yang mengalir ke sejumlah dusun di Desa Batur. Kebakaran lahan dan hutan tersebut didukung oleh faktor kekeringan meteorologi, sehingga perlu dilakukan kajian untuk mengetahui besarnya faktor meteorologi yang mendukung terjadinya kebakaran hutan serta meluasnya area yang terbakar. Penelitian ini dilakukan dengan analisis hasil pengamatan meteorologi yang didapatkan dari AWS <em>(Automatic Weather Station) </em>yang terpasang tidak jauh dari lereng Gunung Merbabu, antara lain AWS Pakem Yogyakarta, AWS Borobudur Magelang, AWS Undip Semarang. Selain analisis dari data hasil pengamatan permukaan, penelitian ini juga melakukan analisis kondisi atmosfer peta angin permukaan, Hari Tanpa Hujan, serta pantauan citra satelit saat terjadinya kebakaran lahan dan hutan di Taman Nasional Gunung Merbabu.</p>

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Hunter, Jefferson. "Film Chronicle: 1984 dir. by Michael Radford, and: Eye in the Sky dir. by Gavin Hood, and: The Last Enemy dir. by Iain MacDonald, and: Hamlet dir. by Gregory Doran, and: Hamlet dir. by Michael Almereyda, and: You Were Never Really Here dir. by Lynne Ramsay, and: Caché dir. by Michael Haneke, and: The Lives of Others dir. by Florian Henckel von Donnersmarck." Hopkins Review 12, no. 3 (2019): 437–46. http://dx.doi.org/10.1353/thr.2019.0068.

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