This book explores how Bakhtinâs ideas can illuminate the compelling but uneasy fusion of Shakespeare and cinema. With a wide variety of tones, languages, cultural orientations, and thematic concerns, film directors have updated, translated, transposed, fragmented, parodied, and geographically re-situated Shakespeare. Keith Harrison illustrates how Bakhtinâs interlinked writings in various fields can fruitfully be applied to an understanding of how the ongoing responsiveness of filmmakers to Shakespeareâs historically remote words can shape self-expressive acts of co-authoring in another medium. Through the use of such Bakhtinian concepts as the chronotope, heteroglossia, the carnivalesque, and polyphony, Harrison details how filmmakersâfaithful to their specific cultures, genders, geographies, and historical momentsâdialogically locate their particularity through Shakespeareâs presence.
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