Includes bibliographical references (p. [197]-209) and index. Includes filmography.
Contents:
The Adaptation: the debate goes on. 'The wheel is come full circle': origins and new directions -- Recycled narratives -- 'This great stage of fools': King Lear in performance -- Dominant readings of King Lear: a tale of redemption or fall? -- The adaptation debate -- Part Two: Production contexts -- From play text to silver screen -- Screen Lears: an overview -- The changing face of King Lear -- New ways of reading screen Lears -- Part Three: Readings of key versions -- From the canon to Hollywood -- East meets West: King Lear and the canon. Peter Brook's King Lear (1971): ' a Hollywood showman's nightmare' -- On the road: reclaiming Kozinstev's Korol Lir (1970) -- Chaos on the Western frontier: Akira Kurosawa's Ran (1985) -- King Lear and genre cinema -- King Lear as western elegy: Ed Dmytryk's Broken Lance (1954) -- King Lear and the urban gangster movie: the 'tragic' gangster -- Displacing the patriarchal family: Joseph Mankiewicz's House of Strangers (1949) -- Mafia father figures: Francis Ford Coppola's The Godfather trilogy (1972, 1974, 1990) -- Gangster Lear as morality tale: Don Boyd's My Kingdom (2001) -- King Lear as melodrama: Jocelyn Moorhouse's A Thousand Acres (1997) -- King Lear goes art house: acts of reconstruction -- 'Meantime we shall express our darker purpose': Jean-Luc Godard's King Lear (1987) -- 'Radical art phalanx' versus 'a clever flag of PR convenience': Kristian Levring's The King is Alive (2000) -- Part 4: The afterlife ... -- The afterlife of King Lear: recent developments in the visual medium -- Adaptation: the debate goes on.
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