General Martius on Screen: Contemporizing a Shakespearian Question in Ralph Fiennes’ Coriolanus (2011)
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This article examines the revisions that Ralph Fiennes has made in his film adaptation of Shakespeare’s Coriolanus and their effects in relation to the theme of identity, which has generated a substantial body of scholarship on the play. In particular, it focuses on the two aspects in which the film shows the most noticeable departure from the original text and at the same time which are closely connected to the media specificities of cinema: the increased stress on the military dimension of the narrative and the use of the modern media. The author argues that the military dimension stresses the world of war paralleling the world of politics, thereby intensifying the contrast between the protagonist’s ideal and the world he lives in, while the use of modern media such as television and photograph within the film makes his distrust of speech and politics relevant to the contemporary audience. She concludes that both ultimately help the film addressing to and contemporizing the theme of identity that is central to the original text.
Abstract
This article examines the revisions that Ralph Fiennes has made in his film adaptation of Shakespeare’s Coriolanus and their effects in relation to the theme of identity, which has generated a substantial body of scholarship on the play. In particular, it focuses on the two aspects in which the film shows the most noticeable departure from the original text and at the same time which are closely connected to the media specificities of cinema: the increased stress on the military dimension of the narrative and the use of the modern media. The author argues that the military dimension stresses the world of war paralleling the world of politics, thereby intensifying the contrast between the protagonist’s ideal and the world he lives in, while the use of modern media such as television and photograph within the film makes his distrust of speech and politics relevant to the contemporary audience. She concludes that both ultimately help the film addressing to and contemporizing the theme of identity that is central to the original text.
참고문헌 (27)
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