Readings are available in a two-part course package at the P&CC; Part I is available immediately, and Part II will be available shortly after the term begins.

Week 1/Jan 6

No Reading

Week 2/Jan 13
Introduction to Film Form: Style and Narrative

Jess-Cooke, Carolyn. “Film Style,” in Shakespeare on Film: Such Things as Dreams are Made Of. New York: Wallflower Press, 2007, pp. 55-81.

Lindroth, Mary. “Some Device of Further Misery: Taymor’s “Titus” Brings Shakespeare to Film Audiences with a Twist,” Literature Film Quarterly 2001, Vol. 29 Issue 2, pp. 107-115.

Week 3/Jan 20
Shakespeare Meets the Teen Flick


Pittman, L. Monique. “Taming 10 Things I Hate About You: Shakespeare and the Teenage film Audience,” Literature Film Quarterly 2004, Vol. 32 Issue 2, pp. 144-152.

Week 4/Jan 27
Shakespeare and Film Genre: Sci Fi

Handout – Tempest Plot & Western Oppositions

Hindle, Maurice. “Film Genre: Conventions and Codes,” in Studying Shakespeare on Film. New York: Palgrave MacMillan, 2007, pp. 88-98.

Caroti, Simone. “Science Fiction, Forbidden Planet, and Shakespeare’s The Tempest,” CLCWeb: Comparative Literature and 6.1 (2004) (12 pages)

Week 5/Feb 3
The Tempest: A case study in the multiplicity of interpretation

Jess-Cook, Carolyn. “Creating the Illustrated Text”, in Shakespeare on Film: Such Things as Dreams are Made Of. New York: Wallflower Press, 2007, pp. 40-48.

Week 6/Feb 10
Shakespeare and Post-modern Cinema: Intertextuality and Self-Consciousness

2009-02-10-outline and categories of shakespeare derivatives

Wiseman, Susan. “The family tree motel: subliming Shakespeare in My Own Private Idaho,” Shakespeare the Movie II. New York: Routledge, 2003, pp. 200-212.


Week 7/Feb 24
Issues in Adaptation

Cartmell, Deborah. “Shakespeare, Film and Violence: Doing Violence to Shakespeare” (excerpt), in Interpreting Shakespeare on Screen. New York: St. Martin’s Press, 2000, pp. 1-8

Cartmell. “Shakespeare, Film and Sexuality: Politically Correct Sexuality in Film Adaptations of Romeo and Juliet and Much Ado About Nothing” (excerpt), in Interpreting Shakespeare on Screen. New York: St. Martin’s Press, 2000, pp. 39-42.

Week 8/Mar 3
Acting Shakespeare, Stage and Screen

Barton, John. “The Two Traditions: Elizabethan and Modern Acting”, in Playing Shakespeare. London: Methuen, 1984, pp. 6-24.

Week 9/Mar 10
Backstage Dramas and Subplot Fiction

Lazarus, John. Professor’s Introduction to Excerpts from Cue for Treason by Geoffrey Trease and The Shakespeare Stealer by Gary Blackwood.

Trease, Geoffrey. Cue for Treason, Publishers’ Foreword; excerpt from Chapter 8; Chapter 9; excerpt from Chapter 10. Toronto: Copp Clark Pitman Ltd, 1940, pp. 94-110.

Blackwood, Gary. The Shakespeare Stealer, excerpt from Chapter 7; Chapter 16. London: Puffin Books, 1998, pp. 48-51, 114-123.

Week 10/Mar 17
Intercultural Adaptation: Japanese Shakespeare


Dawson, Anthony. “Cross-Cultural Interpretation: Reading Kurosawa Reading Shakespeare,” A Concise Companion to Shakespeare on Screen. Oxford: Blackwell Publishing, 2006, pp. 155-175 [In the reader from the first half of the course].

Week 11/Mar 24
Parody & Spoof: Spoofs in Groups

Müller, Beate. “Hamlet at the Dentist”, in Parody: Dimensions and Perspectives. Amsterdam: Editions Rodopi, 1997, pp. 127-153.

Twain, Mark. The Adventures of Huckleberry Finn, excerpt from Chapter 21. New York: Dodd, Mead & Co., 1953, pp. 146-148.

Shakespeare, William. The Merry Wives of Windsor, 1601, excerpt.

Lazarus, John. The Cherry Pies of Prescott, 2009, excerpt.

Week 12/Mar 31
Shakespeare and Pop-Culture: Show-N-Tell & Exam Wrap-Up