Chapters in this book

1. Front Matter i
2. Contents vii
3. Figures ix
4. Acknowledgments xi
5. Remembrance of Things Past 3
6. Defining Terms
7. Why Shakespeare Films Now? 31
8. The Drive to Realism in Shakespearean Adaptation to Film 57
9. Remembering Origins
10. Shakespeare's Prologues on Page and Screen 103
11. Nostalgia for the Stage in Shakespearean Films 133
12. Death Rituals in Shakespeare, Almereyda, and Luhrmann 153
13. Disguise, Genre, and Play
14. Gothic Aspects of Kenneth Branagh's Hamlet 179
15. Art and the Grotesque in Julie Taymor's Titus and Peter Greenaway's Prospero's Books 198
16. Five English Screen Directors' Approaches to Cross-Dressing in As You Like It and Twelfth Night 223
17. Propaganda and the Other in Branagh's Henry V and Fiennes's Coriolanus 254
18. Music and Memory
19. “Sigh No More Ladies”: Shakespeare, Branagh, and Whedon Tackle Issues of Gender and Fidelity in Much Ado About Nothing 285
20. “O Mistress Mine”: Intercutting in Trevor Nunn's Twelfth Night 303
21. Nostalgia in Hoffman's William Shakespeare's A Midsummer Night's Dream and Branagh's Love's Labour's Lost 320
22. Ariel's Singing Body as Interpreted by Greenaway and Taymor 338
23. Conclusion 356
24. Works Cited 367
25. Index 409