Skip to main content Accessibility help
×
Hostname: page-component-7479d7b7d-rvbq7 Total loading time: 0 Render date: 2024-07-10T16:08:31.923Z Has data issue: false hasContentIssue false

Chapter 9 - ‘Something Rich and Strange’

Jarman's Defamiliarisation of The Tempest

Published online by Cambridge University Press:  16 June 2017

Sarah Hatchuel
Affiliation:
Université du Havre, France
Nathalie Vienne-Guerrin
Affiliation:
Université Paul Valéry, Montpellier
Get access
Type
Chapter
Information
Shakespeare on Screen
<I>The Tempest</I> and Late Romances
, pp. 147 - 164
Publisher: Cambridge University Press
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Aebischer, P., ‘Early Modern Drama on Screen: A Jarman Anniversary Issue’, Shakespeare Bulletin 29 (2001), 495503.Google Scholar
Aebischer, P. and Prince, K. (eds.), Performing Early Modern Drama Today (Cambridge: Cambridge University Press, 2012).Google Scholar
Barber, S., The British Film Industry in the 1970s: Capital, Culture and Creativity (Houndmills: Palgrave, 2013).Google Scholar
Bartlett, N., ‘Celebrating Derek Jarman 20 years after his death’, Guardian, 24 January 2014. www.theguardian.com/film/2014/jan/24/celebrating-derek-jarman-20-years-deathGoogle Scholar
Bevington, D., ‘The Tempest and the Jacobean Court Masque’, in Bevington, D. and Holbrook, P. (eds.), The Politics of the Stuart Court Masque (Cambridge: Cambridge University Press, 1998), 218–43.Google Scholar
Buchanan, J., Shakespeare on Film (Harlow: Pearson Longman, 2005).Google Scholar
Burnett, M. T., The Complete Plays – Christopher Marlowe (London: Everyman, 1999).Google Scholar
Chedgzoy, Kate, Shakespeare's Queer Children: Sexual Politics and Contemporary Culture (Manchester: Manchester University Press, 1995).Google Scholar
Duncan-Jones, K., Shakespeare: Upstart Crow to Sweet Swan, 1592–1623 (London: Methuen, 2011).Google Scholar
Ellis, J., ‘Conjuring The Tempest: Derek Jarman and the Spectacle of Redemption’, GLQ 7 (2001), 265–84.Google Scholar
Gilman, E. B., ‘“All Eyes”: Prospero's Inverted Masque’, Renaissance Quarterly 33 (1980), 214–30.CrossRefGoogle Scholar
Greenaway, P., Prospero's Books: A Film of Shakespeare's The Tempest (London: Chatto & Windus, 1991).Google Scholar
Harris, D. and Jackson, M., ‘Stormy Weather: Derek Jarman's The Tempest’, Literature/Film Quarterly 25 (1997), 90–8.Google Scholar
Hawkes, D., ‘“The Shadow of this Time”: The Renaissance Cinema of Derek Jarman’, in Lippard, C. (ed.), By Angels Driven: The Films of Derek Jarman (Trowbridge: Flicks Books, 1996), 103–16.Google Scholar
Hopkins, L., Screen Adaptations: Shakespeare's The Tempest: The Relationship between Text and Film (London: Methuen, 2008).Google Scholar
Jackson, R., Shakespeare and the English-Speaking Cinema (Oxford: Oxford University Press, 2014).Google Scholar
Jarman, D., Dancing Ledge (London: Quartet Books, 1984).Google Scholar
Jowett, J., ‘New Created Creatures: Ralph Crane and the Stage Directions in The Tempest’, Shakespeare Survey 36 (1983), 107–20.Google Scholar
Jowett, J.. ‘Varieties of Collaboration in Shakespeare's Problem Plays and Late Plays’, in Dutton, R. and Howard, J. E. (eds.), A Companion to Shakespeare's Works, 4 vols (Oxford: Blackwell, 2003), vol. 4, 106–28.Google Scholar
Kermode, F. (ed.), William Shakespeare's The Tempest (London: Methuen, 1954).Google Scholar
Lanier, D. M., ‘Drowning the Book: Prospero's Books and the Textual Shakespeare’, in Shaughnessy, R. (ed.), Shakespeare on Film, (Houndmills: Macmillan, 1998), 173–95.Google Scholar
Larkin, P., The Whitsun Weddings (London: Faber, 1974).Google Scholar
Lindley, D., The Tempest: Shakespeare at Stratford (Surrey: Thomas Nelson, 2003).Google Scholar
McCabe, C., ‘A Post-National European Cinema: A Consideration of Derek Jarman's The Tempest and Edward II’, in Petrie, D. (ed.), Screening Europe: Image and Identity in Contemporary European Cinema (London: British Film Institute, 1992), 918.Google Scholar
McMullan, G., Shakespeare and the Idea of Late Writing: Authorship in the Proximity of Death (Cambridge: Cambridge University Press, 2007).CrossRefGoogle Scholar
Moor, A., ‘Spirit and Matter: Romantic Mythologies in the Films of Derek Jarman’, in Alderson, D. and Anderson, L. (eds.), Territories of Desire in Queer Culture (Manchester: Manchester University Press, 2000), 4967.Google Scholar
Norbrook, D., ‘“What Cares these Roarers for the Name of King?”: Language and Utopia in The Tempest, in Ryan, K. (ed.), Shakespeare: The Last Plays (London: Longman, 1999), 245–78.Google Scholar
O'Pray, M., Derek Jarman: Dreams of England (London: British Film Institute, 1996).Google Scholar
Orgel, S. (ed.), William Shakespeare's The Tempest (Oxford: Oxford University Press, 1994).Google Scholar
Pencak, W., The Films of Derek Jarman (Jefferson, NC: McFarland, 2002).Google Scholar
Rothwell, K. S., A History of Shakespeare on Screen, 2nd edition (Cambridge: Cambridge University Press, 2004).Google Scholar
Ryle, S., Shakespeare, Cinema and Desire: Adaptation and Other Futures of Shakespeare's Language (Houndmills: Palgrave Macmillan, 2014).Google Scholar
Sonnabend, Y., ‘The “Fabric of this Vision”: Designing The Tempest with Derek Jarman’, in Wollen, R. (ed.), Derek Jarman: A Portrait (London: Thames and Hudson, 1996), 77–9.Google Scholar
Stanley, N., ‘Derek Jarman: An Art Educator for our Times?’, Journal of Art and Design Education 26 (2007), 108–18.Google Scholar
Taylor, M., ‘Memory, Magic and the Musical in Derek Jarman's The Tempest and Edward II’, in Marshall, B. and Stilwell, R. (eds.), Musicals: Hollywood and Beyond (Exeter: Intellect Books, 2000), 157–62.Google Scholar
Vaughan, A. T. and Vaughan, V. M. (eds.), William Shakespeare's The Tempest, The Arden Shakespeare third series (London: Thomas Nelson, 1999).Google Scholar
Vaughan, V. M., The Tempest: Shakespeare in Performance (Manchester: Manchester University Press, 2011).Google Scholar
Wells, S. and Taylor, G. (eds.), William Shakespeare's Complete Works (Oxford: Clarendon Press, 1988).Google Scholar
Wymer, R., Derek Jarman (Manchester: Manchester University Press, 2005).Google Scholar
Zabus, C. and Dwyer, K. A., ‘“I'll be wise hereafter”: Caliban in Postmodern British Cinema’, in Lie, N. and D'haen, T. (eds.), Constellation Caliban: Figurations of a Character (Amsterdam: Rodopi, 1997), 271–89.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×