‘시공을 초월’하는 셰익스피어, 영화로 가르치기: 줄리 테이머의 『타이터스』를 중심으로
Teaching a Translocal Shakespeare in a Korean Classroom: the Case of Julie Taymor’s Titus
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This paper argues that teaching Shakespeare through Hollywood adaptations can help students more critically understand the global system and the ideology of globalization, which force them to become nothing more than highly efficient, ever productive, and instantly replaceable work forces. In doing so this paper pays specific attention to Julie Taymor’s Titus(1999), in order to examine the ways in which the film re-enacts the violence and inhumanity as universal truth in its ahistorical misreading of its original text Titus Andronicus(1594) as an absurd play. Taymor claims that through postmodern cinematic techniques and narrative strategies, she did not produce a particularly American understanding of Shakespeare, but that she represented a transnational and translocal value imbedded in Shakespeare’s plays. This paper contends, however, that Taymor’s postmodern perspective as well as her ahistorical film can be easily historicized and politicized, and that the film in fact shows a violent erasure of differences in histories of violence, and thus conforms to the very Anglo-American value system, which complacently endorses the problematic globalizing process.
Abstract
This paper argues that teaching Shakespeare through Hollywood adaptations can help students more critically understand the global system and the ideology of globalization, which force them to become nothing more than highly efficient, ever productive, and instantly replaceable work forces. In doing so this paper pays specific attention to Julie Taymor’s Titus(1999), in order to examine the ways in which the film re-enacts the violence and inhumanity as universal truth in its ahistorical misreading of its original text Titus Andronicus(1594) as an absurd play. Taymor claims that through postmodern cinematic techniques and narrative strategies, she did not produce a particularly American understanding of Shakespeare, but that she represented a transnational and translocal value imbedded in Shakespeare’s plays. This paper contends, however, that Taymor’s postmodern perspective as well as her ahistorical film can be easily historicized and politicized, and that the film in fact shows a violent erasure of differences in histories of violence, and thus conforms to the very Anglo-American value system, which complacently endorses the problematic globalizing process.
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