Saturday, May 20, 2017

Book Note: The Shakespeare Almanac / Shakespeare's Sonnets Registered on this Date in 1609

Doran, Gregory. The Shakespeare Almanac. London: Hutchinson, 2009.

Shakespeare Geek asked me if I'd ever seen this volume.  I hadn't, but I tracked down a copy through Inter-Library Loan. And then I bought myself a copy.

The book is a trip through the year with Shakespeare-related events, accomplishments, and trivia, and I've generally been pretty impressed and interested in what it has to say.

I'm providing the page for today below. I mainly know of 20 May as the date of the registration of Shakespeare's Sonnets . . . but Doran gives us a fair bit more than just that:




I've only spotted one error in the book so far (the page for April 23 says that Shakespeare was baptized on April 25—but it was really on April 26).

The book is very interesting and would make a good addition to the library of any Shakespeare aficionado. 

Click below to purchase the book from amazon.com
(and to support Bardfilm as you do so).

Thursday, May 18, 2017

Piñeiro's Hermia & Helena

Hermia & Helena. Dir. Matías Piñeiro. Perf. Agustina Muñoz, María Villar, Mati Diop.  Trapecio Cine, Ravenser Odd, and Cinema Conservancy. 26 May 2017 [US Theatrical Release]. 

I've heard a bit about this film from time to time, and it's about to have a US release. During the past few weeks, I've been paying more attention to Shakespeare in Spanish, so a film about a woman who is translating Midsummer Night's Dream is intriguing.

But that's not all that's intriguing!  From the plot and the trailer, it looks like quite a promising film.  The Film Stage has an entry on the film here. They offer this plot summary:
Camila (Agustina Muñoz, The Princess of France), a young Argentine theater director, travels from Buenos Aires to New York for an artist residency to work on a new Spanish translation of Shakespeare’s A Midsummer Night’s Dream. Upon her arrival, she quickly realizes that her work isn’t compensating for the loss of her friends and the lover she left behind. When she begins to receive a series of mysterious postcards from Danièle (Mati Diop, Claire Denis’s 35 Shots of Rum), a former participant in the same residency, Camila second-guesses her artistic endeavors and begins to seek answers about her past. Hermia & Helena mingles actors from Matías Piñeiro’s Buenos Aires repertory with stalwarts of New York’s independent film scene (Keith Poulson, Dustin Guy Defa, Dan Sallitt). It is a film of dead ends and new beginnings, navigating amorous detours across hemispheres and languages, in which the words of Shakespeare clash with the entanglements of modern, digital life.
And here's the official trailer:


Links: The Film at IMDB.

Thursday, May 11, 2017

Fodor's Hamlet: Not Just Another Ghost Story

Hamlet. Dir. Alexander Fodor. Perf. Wilson Belchambers, Lydia Piechowiak (as Polonia), Alan Hanson, and Tallulah Sheffield. 2007. DVD. S’more Entertainment, Inc., 2009.


Whenever I give a final examination in Shakespeare and Film, I show the students a couple of clips that they have to analyze on the spot. It's a good assignment, giving them a chance to demonstrate both the vocabulary and the skills of analysis that they've been developing through the course.

It's always something we hadn't covered in class, and I always show them two clips and have them choose the one they feel they can write about best. I also always tell them that I don't want a review or a summary of the plot; instead, I want them to develop an essay that analyzes the decisions the director(s) and the actor(s) have made, not one that critiques their ability to carry it out.

This year, I showed them a clip from the Fodor Hamlet. It's not a Hamlet that I particularly like—I don't think it works that well overall. But the nunnery scene has a lot that the students can write about, including the interesting shift from Polonius, Ophelia's father, to Polonia, Ophelia's sister:

video

I'm wondering what direction the students who choose that clip will take their essays. Will they talk about how the power dynamic changes with the shift from Polonius to Polonia? Will they talk about the disorientation the film intends us to have—preventing us from knowing exactly how the observation of Hamlet and Ophelia works? Will they talk about the seagull / dolphin sounds and whether they appear to be diegetic or non-diegetic? I do hope they do something like that—rather than critiquing the acting and the film-making (which is, admittedly, bad—but which isn't meant to be the focus of their essays).

Links: The Film's Official Web Site.


Click below to purchase the film from amazon.com
(and to support Bardfilm as you do so).

Bardfilm is normally written as one word, though it can also be found under a search for "Bard Film Blog." Bardfilm is a Shakespeare blog (admittedly, one of many Shakespeare blogs), and it is dedicated to commentary on films (Shakespeare movies, The Shakespeare Movie, Shakespeare on television, Shakespeare at the cinema), plays, and other matter related to Shakespeare (allusions to Shakespeare in pop culture, quotes from Shakespeare in popular culture, quotations that come from Shakespeare, et cetera).

Unless otherwise indicated, quotations from Shakespeare's works are from the following edition:
Shakespeare, William. The Riverside Shakespeare. 2nd ed. Gen. ed. G. Blakemore Evans. Boston: Houghton Mifflin, 1997.
All material original to this blog is copyrighted: Copyright 2008-2016 (and into perpetuity thereafter) by Keith Jones.

The very instant that I saw you did / My heart fly to your service; there resides, / To make me slave to it; and, for your sake, / Am I this patient [b]log-man.

—The Tempest