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Shakespeare’s Hamlet and its cinema adaptations an analysis
dc.contributor.author | Ballester Fernández, Beatriz | |
dc.contributor.other | Prado Pérez, José Ramón | |
dc.contributor.other | Universitat Jaume I. Departament d'Estudis Anglesos | |
dc.date.accessioned | 2017-11-22T10:36:04Z | |
dc.date.available | 2017-11-22T10:36:04Z | |
dc.date.issued | 2017-06-08 | |
dc.identifier.uri | http://hdl.handle.net/10234/170295 | |
dc.description | Treball Final de Grau en Estudis Anglesos. Codi: EA0938. Curs acadèmic: 2016/2017 | |
dc.description.abstract | The longest and best of the Bard’s tragedies is well known all over the world. However, depending on the eye of the beholder, Hamlet is seen in different ways. Basically, to adapt what is undoubtedly the greatest work in English literature to the silver screen is, at the very least, controversial. However, what does it mean to be faithful to the original work? Obviously, many times it is necessary to introduce changes so that a story is turned into cinema material, since the fact that seeing adaptations from the perspective of fidelity revealed itself as too limiting. Nevertheless, what is the limit that denotes when one is being or not faithful to the original work? Considered the most intense and filmed of Shakespeare’s plays, this paper presents and compares both adaptations of Hamlet, that of Kenneth Branagh and that of Franco Zeffirelli; to be more specific, those scenes which have been selected because they are the most relevant in the play and because of the different strategies that the directors have used to represent them. That is, (1) The Spectre and His Testimony, and (2) Hamlet’s Third Soliloquy “To Be or Not to Be”. The analysis of these scenes will be carried out, of course, bearing in mind the different perspectives through which each filmmaker has chosen to represent the play, not considering the controversy between the different types of adaptations –since that is not the purpose of the present analysis, and also interpreting Branagh and Zeffirelli’s adaptations as products of their own artistic creativity. On the whole, an adaptation as it has been understood in this document does not necessarily have to remain faithful to the original work, but to the new logic developed by the director. | ca_CA |
dc.format.extent | 32 p. | ca_CA |
dc.format.mimetype | application/pdf | ca_CA |
dc.language.iso | eng | ca_CA |
dc.publisher | Universitat Jaume I | ca_CA |
dc.rights.uri | http://rightsstatements.org/vocab/CNE/1.0/ | * |
dc.subject | Grau en Estudis Anglesos | ca_CA |
dc.subject | Grado en Estudios Ingleses | ca_CA |
dc.subject | Bachelor's Degree in English Studies | ca_CA |
dc.subject | Shakespeare | ca_CA |
dc.subject | Hamlet | ca_CA |
dc.subject | adaptation | ca_CA |
dc.subject | play | ca_CA |
dc.subject | spectre | ca_CA |
dc.title | Shakespeare’s Hamlet and its cinema adaptations an analysis | ca_CA |
dc.type | info:eu-repo/semantics/bachelorThesis | ca_CA |
dc.educationLevel | Estudios de Grado | ca_CA |
dc.rights.accessRights | info:eu-repo/semantics/restrictedAccess | ca_CA |
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Grau en Estudis Anglesos [351]
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