Book contents
- Shakespeare on ScreenThe Tempest and Late Romances
- Series page
- Shakespeare on Screen
- Copyright page
- Dedication
- Contents
- Illustrations
- Contributors
- Series Editors’ Preface
- Acknowledgements
- Chapter 1 Introduction
- Chapter 2 Thanhouser's ‘Fierce Abridgement’ of Cymbeline
- Chapter 3 Looking (at) Women in the BBC Pericles
- Chapter 4 Scenes from Cymbeline and Early Television Studio Drama
- Chapter 5 Romance for Television
- Chapter 6 The Winter's Tale
- Chapter 7 The Winter's Tale's Spectral Endings
- Chapter 8 Shakespeare's Puppets
- Chapter 9 ‘Something Rich and Strange’
- Chapter 10 The Absent Masque in Three Films of The Tempest
- Chapter 11 Prospero's Books
- Chapter 12 The Alternating Utopic Revisions of The Tempest on Film
- Chapter 13 Screen Magic in Greenaway's Prospero's Books and Taymor's The Tempest
- Chapter 14 Almereyda's Cymbeline
- Chapter 15 Ghost Towns and Alien Planets
- Chapter 16 Grafting The Tempest onto Allégret's Le Bal du Comte d'Orgel
- Chapter 17 The Romances on Screen
- Index
- References
Chapter 15 - Ghost Towns and Alien Planets
Variations on Prospero's Island
Published online by Cambridge University Press: 16 June 2017
Book contents
- Shakespeare on ScreenThe Tempest and Late Romances
- Series page
- Shakespeare on Screen
- Copyright page
- Dedication
- Contents
- Illustrations
- Contributors
- Series Editors’ Preface
- Acknowledgements
- Chapter 1 Introduction
- Chapter 2 Thanhouser's ‘Fierce Abridgement’ of Cymbeline
- Chapter 3 Looking (at) Women in the BBC Pericles
- Chapter 4 Scenes from Cymbeline and Early Television Studio Drama
- Chapter 5 Romance for Television
- Chapter 6 The Winter's Tale
- Chapter 7 The Winter's Tale's Spectral Endings
- Chapter 8 Shakespeare's Puppets
- Chapter 9 ‘Something Rich and Strange’
- Chapter 10 The Absent Masque in Three Films of The Tempest
- Chapter 11 Prospero's Books
- Chapter 12 The Alternating Utopic Revisions of The Tempest on Film
- Chapter 13 Screen Magic in Greenaway's Prospero's Books and Taymor's The Tempest
- Chapter 14 Almereyda's Cymbeline
- Chapter 15 Ghost Towns and Alien Planets
- Chapter 16 Grafting The Tempest onto Allégret's Le Bal du Comte d'Orgel
- Chapter 17 The Romances on Screen
- Index
- References
- Type
- Chapter
- Information
- Shakespeare on Screen<I>The Tempest</I> and Late Romances, pp. 251 - 268Publisher: Cambridge University PressPrint publication year: 2017
References
Works Cited
Borlik, T. A., ‘Caliban and the Fen Demons of Lincolnshire: the Englishness of Shakespeare's Tempest’, Shakespeare 9:1 (2012), 21–51.Google Scholar
Brode, D., Shakespeare in the Movies: From the Silent Era to Shakespeare in Love (Oxford: Oxford University Press, 2000).Google Scholar
Bruster, D., ‘The Postmodern Theatre of Paul Mazursky's Tempest’, in Burnett, M. T. and Wray, R. (eds.), Shakespeare, Film, Fin de Siècle (Basingstoke: Macmillan, 2000), 26–39.Google Scholar
Buchanan, J., ‘Forbidden Planet and the Retrospective Attribution of Intentions’, in Cartmell, D., Hunter, I. Q. and Whelehan, I. (eds.), Retrovisions: Reinventing the Past in Film and Fiction (London & Sterling, VA: Pluto Press, 2001), 148–62.Google Scholar
Ferber, M., A Dictionary of Literary Symbols (Cambridge: Cambridge University Press, 2007).Google Scholar
Hardin, M., ‘Mapping Post-War Anxieties onto Space: Invasion of the Body Snatchers and Invaders from Mars’, Enculturation 1:1 (1997).Google Scholar
Hoenselaars, T., ‘Gone with The Tempest’, Shakespeare Society of the Low Countries 8:1 (2001), 46–8, http://shakespeare.let.uu.nl/bayou.htm.Google Scholar
Haspel, P., ‘Ariel and Prospero's Modern English Adventure: Language, Social Criticism, and Adaptation in Paul Mazursky's Tempest’, Literature/Film Quarterly 34:2 (2006), 130–40.Google Scholar
Hopkins, L., Screen Adaptations: Shakespeare's The Tempest: The Relationship between Text and Film (London: Methuen, 2008).Google Scholar
Johnston, T., ‘Exclusive: An Unpublished Interview with Michael Powell’, TimeOut London. n.d. www.timeout.com/london/film/exclusive-an-unpublished-interview-with-michael-powell-1.Google Scholar
Kermode, F., ‘Introduction’, in Kermode, F. (ed.), The Tempest, The Arden Shakespeare second series (London: Methuen, 1994 [1954]), xi–xcii.Google Scholar
Lanier, D. M., ‘Film Spin-offs and Citations’, in Burt, R. (ed.), Shakespeares after Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture. (Westport, CT & London: Greenwood Press, 2007), vol. 1, 132–365.Google Scholar
Martin, S., ‘Classic Shakespeare for All: Forbidden Planet and Prospero's Books, Two Screen Adaptations of The Tempest’, in Cartmell, D., Hunter, I. Q., Kaye, H. and Whelehan, I. (eds.), Classics in Film and Fiction (London & Sterling, VA: Pluto Press, 2000), 34–53.Google Scholar
Moor, A., Powell and Pressburger: A Cinema of Magic Spaces (London: I. B. Tauris, 2005).Google Scholar
Morse, R., ‘Monsters, Magicians, Movies: The Tempest and the Final Frontier’. Shakespeare Survey 53 (2000), 164–74.Google Scholar
Sandbrook, D., ‘Introduction’, Sixties Britain. A Social and Cultural Revolution? The National Archives. n.d. www.nationalarchives.gov.uk/education/resources/sixties-britain/#introduction.Google Scholar
Schneider, D., ‘Forbidden Planet Review – Anne Francis, Leslie Nielsen, Fred M. Wilcox’, Alt Film Guide, n.d. www.altfg.com/blog/classics/forbidden-planet-anne-francis-leslie-nielsen/.Google Scholar
Shail, R., British Film Directors: A Critical Guide (Edinburgh: Edinburgh University Press, 2007).Google Scholar
Stewart, K., ‘Real American Dreams (Can Be Nightmares)’, in Dean, J. (ed.), Cultural Studies and Political Theory (Ithaca: Cornell University Press, 2000), 243–57.Google Scholar
Vaughan, A. T. and Vaughan, V. M., ‘Introduction’, in Vaughan, A. T. and Vaughan, V. M. (eds.), The Tempest. The Arden Shakespeare third series (London: Thomas Nelson, 1999), 1–138.Google Scholar
- 1
- Cited by