Intercultural Intermediality: The Unspoken Text in Intercultural Film Adaptations of Shakespeare
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In this paper I wade tangentially into the on-going debate as to whether, in global productions of Shakespeare, Shakespeare acts as a vehicle of reciprocal cultural exchange or of continuing Western cultural hegemony. I emphasize what Li Lan Yong likes to refer to as the positionality of the audience member—specifically, how familiar the individual is with the language of the source play—and from there focus on two film adaptations of Shakespeare that are self-consciously intermedial in nature: Akira Kurosawa’s Throne of Blood (1957) and a Korean film that is a very loose adaptation of Hamlet, The King and the Clown (Lee Joon-ik, dir., 2005). I explore in particular how the directors draw upon the liveness of theatre to transform famous metaphors of theatricality in the source texts for moral and political commentary, while indirectly intervening in the question of Shakespeare’s status in the global cultural market place.
Abstract
In this paper I wade tangentially into the on-going debate as to whether, in global productions of Shakespeare, Shakespeare acts as a vehicle of reciprocal cultural exchange or of continuing Western cultural hegemony. I emphasize what Li Lan Yong likes to refer to as the positionality of the audience member—specifically, how familiar the individual is with the language of the source play—and from there focus on two film adaptations of Shakespeare that are self-consciously intermedial in nature: Akira Kurosawa’s Throne of Blood (1957) and a Korean film that is a very loose adaptation of Hamlet, The King and the Clown (Lee Joon-ik, dir., 2005). I explore in particular how the directors draw upon the liveness of theatre to transform famous metaphors of theatricality in the source texts for moral and political commentary, while indirectly intervening in the question of Shakespeare’s status in the global cultural market place.
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