Devouring Time: Nostalgia in Contemporary Shakespearean Screen Adaptations

Cover\nDEVOURING TIME\nTitle\nCopyright\nDedication\nContents\nFigures\nAcknowledgments\nIntroduction: Remembrance of Things Past\nPART ONE DEFINING TERMS\n	1 Why Shakespeare Films Now?\n	2 The Drive to Realism in Shakespearean Adaptation to Film\nPART TWO REMEMBERING ORIGINS\n	3 Shakespeare’s Prologues on Page and Screen\n	4 Nostalgia for the Stage in Shakespearean Films\n	5 Death Rituals in Shakespeare, Almereyda, and Luhrmann\nPART THREE DISGUISE, GENRE, AND PLAY\n	6 Gothic Aspects of Kenneth Branagh’s Hamlet\n	7 Art and the Grotesque in Julie Taymor’s Titus and Peter Greenaway’s Prospero’s Books\n	8 Five English Screen Directors’ Approaches to Cross-Dressing in As You Like It and Twelfth Night\n	9 Propaganda and the Other in Branagh’s Henry V and Fiennes’s Coriolanus\nPART FOUR MUSIC AND MEMORY\n	10 “Sigh No More Ladies”: Shakespeare, Branagh, and Whedon Tackle Issues of Gender and Fidelity in Much Ado About Nothing\n	11 “O Mistress Mine”: Intercutting in Trevor Nunn’s Twelfth Night\n	12 Nostalgia in Hoffman’s William Shakespeare’s A Midsummer Night’s Dream and Branagh’s Love’s Labour’s Lost\n	13 Ariel’s Singing Body as Interpreted by Greenaway and Taymor\nConclusion\nWorks Cited\nIndex