Review

...a veritable symphony of intertextuality constructed entirely of the semiotics of Shakespeare in moving images. -- Shakespeare Bulletin 20.1 (Winter 2002): 39-41

Treating both canonical and noncanonical films . . . (the book) holds its own in a now-cluttered field. -- Choice, July 1, 2002

[This] readable and informative book . . . revels in how celluloid and electronics have challenged traditional ways of looking at Shakespeare. -- Cineaste 28.1(Winter 2002): 54

From the Back Cover

Offering a comprehensive look at the strategies that filmmakers have employed in adapting Shakespeare's plays to the cinema, this book investigates what the task of Shakespearean adaptation reveals about film in general and focuses on patterns and approaches shared by various cinematic works. Buhler provides concise histories of each general strategy, which include non-illusionistic cinema, documentary interpretations, mass-market productions, transgressive and transitional cinema, and approaches that see film as either distinct from the stage or as an extension of theatrical traditions. The book spans more than a century of film, starting with the 1899 King John and extending through Michael Hoffman's A Midsummer Night's Dream, Julie Taymor's Titus, and later releases.
--This text refers to the

edition.