Shakespare essay draft PDF

Preview

Summary

Example of a final essay...

Description

LIT257: SHAKESPEARE ON FILM ASSESSMENT TWO - CRITICAL ESSAY STUDENT NUMBER 200148274

Compare TWO film adaptations of your choice of the same Shakespeare play, to show how they reflect the cultural/social/political contexts in which they were produced.

A Midsummer Night’s Dream (Hoffman, 1999) and A Midsummer Night’s Dream (Kerr, 2016)

2650 words

Despite drawing on the same source text, Michael Hoffman and David Kerr present radically different interpretations of A Midsummer Night’s Dream which are closely tied to the social, cultural and political contexts in which they were produced. This essay will examine three key elements of the adaptations - the choice of setting, the representation of gender and sexuality, and the representation of the working class. By analysing these elements in relation to context, this essay will find that the themes of Hoffman’s A Midsummer Night’s Dream are contradictory and neutralised by an attempt to appeal to a mass audience. On the other hand, Kerr’s interpretation is able to present these themes in a way that is bold and progressive due to the BBC’s drive towards diversity and use of public funding.

Michael Hoffman’s A Midsummer Night’s Dream1 can be considered within the context of the 1 A Midsummer Night’s Dream. Directed by Michael Hoffman (Regency Enterprises: 1999).

LIT257: Shakespeare on Film Assessment Two Student Number 200148274

“Bard Boom”, a wave of Shakespeare-related films released following the success of Shakespeare in Love2 in 19983 which aimed to translate “traditional literary culture for the age of mass media [...] to disengage Shakespeare from the theatre”4. In this period, adaptations of Shakespeare were intended to appeal to mass audiences rather than traditional theatre audiences and borrowed techniques from blockbuster films in order to do so, for example several films utilised “deployment of an over-emphasized romantic love narrative as a perceived point of continuity between the Shakespearean play and the Hollywood blockbuster”5. In this context, it has been argued that the political and social messages of Hoffman’s Dream are largely dictated by the “financial incentives driving both pre-production and post production decision-making”, resulting in a film that arguably “neutralizes the more disturbing and nightmarish elements inherent in all social dreams (gendered, statused or whatever)”6 in order to avoid alienating any potential audience members.

On the other hand, David Kerr’s A Midsummer Night’s Dream7 was produced by the BBC, as part of their goal of “reflecting the whole of the UK and reinventing ourselves for a new 2 Shakespeare in Love. Directed by John Madden (Bedford Falls Productions: 1998). 3 Welsh, Jim. ‘’Ill met by moonlight’: Michael Hoffman’s Dream’ in Literature/Film Quarterly

volume 27, issue 2. (Salisbury: Salisbury University, 1999), pp 159-161 (pp 159). 4 Lanier, Douglas. ‘Nostalgia and Theatricality: The Fate of the Shakespearean Stage In the Midsummer Night’s Dreams of Hoffman, Noble and Edzard’ in Shakespeare, The Movie II: Popularising the Plays on Film, TV, Video and DVD. Edited by Richard Burt and Linda E Boose. (London: Routledge, 2004). Pp 154-171 (pp 154) 5 Mayo, Sarah. "A Shakespeare for the people'? Negotiating the popular in Shakespeare in Love and Michael Hoffman's A Midsummer Night's Dream’ in Textual Practise. Volume 17, issue 2. (London: Routledge, 2013). Pp 295-315. (pp 259) 6 Matchinske, Megan M. ‘Putting Bottom on Top: Gender and the Married Man in Michael Hoffman's "Dream"’ in Shakespeare Bulletin, Winter 2003, Vol. 21, No. 4. (Baltimore: John Hopkins Press, 2003). Pp. 40-56. (pp 42) 7 A Midsummer Night’s Dream. Directed by David Kerr. (BBC: 2016). 2

LIT257: Shakespeare on Film Assessment Two Student Number 200148274

generation”, according to their 2016/2017 Equality Information Report8. In this context, it can be argued that Hoffman is actively trying to insert topical social and political issues in order to appeal to a “new generation” and reflect the progressive values that the BBC aims to embody. The BBC does appeal to a mainstream audience, for example Kerr has stated that A Midsummer Night’s Dream “had to be entertaining enough to work on primetime on the BBC’s main channel for a mainstream, family audience”9. However, due to the fact the BBC is funded through licensing fees rather than profit, it can be argued that mass appeal is less important in this case and thus Kerr may have had more creative freedom in his adaptation than Hoffman.

One key issue which arises in the comparison of these films is the idea of ‘faithfulness’ to the source text. Hoffman’s A Midsummer Night’s Dream was described by the critic Roger Ebert as “faithful, by and large, to the original play”10. Although Ebert appears to mean this as a compliment, the idea of ‘faithfulness’ has been criticised by scholars of adaptation studies. Cartmell and Whelehan, for example, express a “desire to free our notion of film adaptations from this dependency on literature so that adaptations are not derided as sycophantic, derivative, and therefore inferior to their literary counterparts” 11, meaning that film adaptations should not be regarded as inherently inferior to literature but should be judged on their own. Metz refers to

8 BBC Equality Information Report 2016-17. Pp. 5. 9 Jacob, Jon. ‘Directing BBC One's A Midsummer Night's Dream: Power, love, and the power of

love’. BBC Blog. 27/05/16. Available from: https://www.bbc.co.uk/blogs/aboutthebbc/entries/e4e21d52-d739-44d6-86e2-e72a9f548f09. Accessed 11/01/2021. 10 Ebert, Roger. ‘William Shakespeare’s A Midsummer Night’s Dream’. Rogerebert.com, 14/05/1999. Available from: https://www.rogerebert.com/reviews/william-shakespeares-amidsummer-nights-dream-1999. Accessed 11/01/21. 11Cartmell, Deborah and Whelehan, Imelda. Adaptations: From Text to Screen, Screen to Text. (London: Routledge, 1999). Pp2. 3

LIT257: Shakespeare on Film Assessment Two Student Number 200148274

the “possibility” of adaptations12, suggesting that adaptations should not be judged on faithfulness but on what opportunities they provide to conser the text in a new way. In this view, the fact that Kerr’s A Midsummer Night’s Dream is less ‘faithful’ to the source text does not make it inherently inferior and may allow for more possibilities in interpretation, leading to more progressive social and political messages being conveyed.

Despite its drive to appeal to mass audiences, Hoffman’s Dream is not entirely apolitical. Rather, it can be argued that Hoffman’s politics are expressed on a visual rather than textual level. Bueler writes that in Hoffman’s A Midsummer Night’s Dream “the visual text seeks either to dominate the verbal text or at least to distract the audience from it”13. Whilst this is clearly negative in the context of Bueler’s review, suggesting that Hoffman is unable or unwilling to engage meaningfully with the text and relies on visuals instead, it can also be considered in terms of the possibilities this opens up in the adaptation. Hattaway writes that “film may not be suited to Shakespearean acting, but what it can do wonderfully is offer readings of the text by specifically cinematographic methods.”14. In this interpretation, the extravagant visuals used by Hoffman are not a distraction but a different way of reading the text by utilising techniques such as CGI which are not available in the theatre. In Nicholas Jones’ view, for example, Hoffman’s use of lavish imagery and sound reflect “a consumer culture absorbed in fantasy and enchantment”, drawing attention to the growing consumerism prevalent in the late 1990s in a way which may not be 12 Metz, Christian quoted by Hutcheon, Linda. ‘On the Art of Adaptation’ in Daedalus, Vol. 133, No. 2, On Happiness. (Cambridge: MIT Press, 2004). Pp 108-111. 13 Bueler, Stephen M. ‘Textual and Sexual Anxieties in Michael Hoffman's Film of A Midsummer Night's Dream in Shakespeare Bulletin, Fall 2004, Vol. 22, No. 3 (Baltimore: John Hopkins University Press, 2004) Pp. 49-64. (pp 61) 14 Hattaway, Michael. ‘The Comedies on Film’ in The Cambridge Companion to Shakespeare on Film. Edited by Russell Jackson. (Cambridge: Cambridge University Press, 2000). Pp 85-98. (pp 88) 4

LIT257: Shakespeare on Film Assessment Two Student Number 200148274

possible on stage15. It can be argued, therefore, that although the way in which Hoffman engages with the text itself is limited by the need to appeal to a mass market, the political and social messages he wishes to convey are instead encoded within the cinematography and imagery of the film.

Shakespeare’s A Midsummer Night’s Dream is set in ancient Athens, Greece, however both Kerr and Hoffman divert from this setting in their films. In Hoffman’s dream, a title card makes it explicitly clear that the film is set in Monte Athena, Italy, not Athens, and at the turn of the nineteenth century16. This is made clear throughout the film through audio and visual references to classical Roman mythology and culture - the statues and fountains resemble those of Rome, operatic music sung in Italian is used for the non-diegetic soundtrack, and Medusa herself appears in the forest. In a Shakespearean context, Italy is often associated with a heightened sense of glamour, drama and romance, reinforced by its use as a setting in plays such as Romeo and Juliet17, therefore it could be argued that Hoffman uses this setting to further the themes of romance and drama within the film. On the other hand, it can be argued that setting the film in a fictional town which is clearly different from most audience member’s day to day surroundings depoliticise the narrative, distancing the audience and discouraging them from mapping the political circumstances of their own surroundings onto the story. The fictional, foreign setting provides a sense of escapism, which may be one of the “avoidance tactics” which aim to prevent

15 Jones, Nicholas. ‘Bottom’s Wife: Gender and Sexuality in Hoffman’s ‘Dream’’ in

Literature/Film Quarterly. Vol 32, Issue 2. (Salisbury: Salisbury University, 2004) Pp 126-133. (Pp. 126) 16 A Midsummer Night’s Dream. Directed by Michael Hoffman. 00:02:12. 17 Mullan, John. Shakespeare and Italy. The British Library. 15/03/16. Available from: https://www.bl.uk/shakespeare/articles/shakespeare-and-italy. Accessed 15/01/21. 5

LIT257: Shakespeare on Film Assessment Two Student Number 200148274

alienating a mainstream audience18. Riga disagrees that the setting is apolitical, stating that “the setting and the time are particularly relevant to Hoffman's vision, firmly embedding the film within the context of the late nineteenth century social history of Europe and thus facilitating the shift in focus to Bottom and his fellow artisans. By choosing the late 1890s of Europe rather than ancient Athens, Hoffman suggests coming social changes”19. In this view, the setting reflects a time period in which the working classes were becoming increasingly prominent, mirroring the way in which Bottom is prioritised in Hoffman’s adaptation. It can be argued, therefore, that although on the surface the setting appears to be apolitical, Hoffman’s messages are again encoded within the visuals of the film instead of being explicitly addressed.

On the other hand, the setting of Kerr’s A Midsummer Night’s Dream in a technologically advanced facist state. This is evident from the very start of the film20, which depicts Theseus striding up to a podium in front of an imposing, grey building. A wide shot shows Thesus surrounded by armed guards in dark uniforms, whilst Theseus’s bright red uniform and position in the centre of the shot clearly establishes him as the central figure of this dictatorship. Red and black banners appear to explicitly replicate Nazi imagery, whilst a cyron at the bottom of the screen and the use of static distorting the frame highlight the significance of technology in this society. This imagery brings to mind both fascist regimes of the past and current concerns 18 Bueler, Stephen M. ‘Textual and Sexual Anxieties in Michael Hoffman's Film of A

Midsummer Night's Dream in Shakespeare Bulletin, Fall 2004, Vol. 22, No. 3 (Baltimore: John Hopkins University Press, 2004) Pp. 49-64. (Pp 59) 19 Riga, Frank P. ‘“Where is that Worthless Dreamer?” Bottom’s Fantastic Redemption in Hoffman’s A Midsummer Night’s Dream’ in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature, volume 25, number 1. (Weatherford: Southwestern Oklahoma State University, 2006) Pp. 197-211. (Pp 199) 20 A Midsummer Night’s Dream. Directed by David Kerr. BBC: 2016. 00:00:00 - 00:00:08. 6

LIT257: Shakespeare on Film Assessment Two Student Number 200148274

regarding technology. Arguing that the true message of the film is overshadowed by flashy visuals and a focus on gender politics, Kinga Foldvary states that the core of Kerr’s Dream is “its depiction of a tightly controlling post-panoptic regime, relying on technological surveillance systems, in which observed and observer are equally implicated”21. These are extremely topical concerns in the context of 2016, in which use of technology was rising and the election of Donald Trump in the USA raised concerns about democracy, and therefore Kerr’s decision to highlight these themes in the first few seconds of the film demonstrates his freedom to make explicit political commentary.

The transformation of Theseus from a character who Kerr describes as “a bit bland” in the original play to “a sadist and dictator who rules his state with a rod of iron”22 is an integral part to this change in setting in Kerr’s adaptation of the film. Whilst Hoffman’s Theseus appears relatively harmless, and comes to allow the marriages between Hermia and Lysander and Helena and Demetrius by the end of the film, Kerr’s Theseus is never redeemed and his reign of terror is only ended by his death. The death of Theseus at the hands of the Hippolyta, arguably the most drastic difference between this adaptation and the source text, therefore represents not only the revenge of an abused woman on her husband but also symbolises the fall of a dictatorship at the hands of the people. In this reading, it can be argued that Kerr’s interpretation not only engages with current political concerns but offers solutions for dealing with these in a radical way. 21 Foldvary, Kinga. ‘Trendy or topical? Sexual politics and panopticism in the 2016 BBC

Midsummer Night’s Dream’ in Cahiers Élisabéthains: A Journal of English Renaissance Studies. Volume 99, Issue 1. Pp 137-146. (Pp 137) 22 Jacob, Jon. ‘Directing BBC One's A Midsummer Night's Dream: Power, love, and the power of love’. BBC Blog. 27/05/16. Available from: https://www.bbc.co.uk/blogs/aboutthebbc/entries/e4e21d52-d739-44d6-86e2-e72a9f548f09. Accessed 11/01/2021. 7

LIT257: Shakespeare on Film Assessment Two Student Number 200148274

The casting in both adaptations can also be linked to the social and political contexts of their creation. Within the context of late-1990s mass media, directors have been identified as “offering moviegoers implicit—and nearly explicit—contracts suggesting that immediate entertainment rewards will accrue in return for their dollars and time”. In Hoffman’s case, this includes casting “recognizable stars” such as Christian Bale, Stanley Tucci and Michelle Pfeiffer 23 to attract mainstream audiences who are likely to already be aware of the work of these actors. Kerr’s adaptation, on the other hand, casts less well known actors in the lead roles. Furthermore, the casting of people of colour in lead roles, including Nonso Anozie as Oberon, Eleanor Matsuura as Hippolyta and Paapa Essiedu as Demetrius, fulfills the BBC’s intention of “reflecting the whole of the UK” and suggests that progress has been made in the representation of people of colour on film, in contrast with the predominantly white cast of Hoffman’s Dream.

Although some critics such Bueler argue that Hoffman “removes all potential class tensions at work in Shakespeare's Dream”24, for example by reducing the amount of scorn which the aristocrats display towards the mechanical’s performance of Pyramus and Thisbe, this is complicated by the representation of Bottom. Frank P. Riga has outlined how “both on stage and in critical studies, Bottom has been consistently portrayed as a clown, a buffoon, and a caricature”, but argues that in Hoffman’s adaptation “Bottom becomes the representative for the artisan classes all told, resulting in a radical shift from the traditional privileging of the 23 Bueler, Stephen M. ‘Textual and Sexual Anxieties in Michael Hoffman's Film of A

Midsummer Night's Dream in Shakespeare Bulletin, Fall 2004, Vol. 22, No. 3 (Baltimore: John Hopkins University Press, 2004) Pp. 49-64. (Pp 49) 24 Bueler, Stephen M. ‘Textual and Sexual Anxieties in Michael Hoffman's Film of A Midsummer Night's Dream in Shakespeare Bulletin, Fall 2004, Vol. 22, No. 3 (Baltimore: John Hopkins University Press, 2004) Pp. 49-64. 8

LIT257: Shakespeare on Film Assessment Two Student Number 200148274

aristocracy to a new emphasis on the lower classes”25. One of the ways in which this power shift is achieved is through giving Bottom an increased amount of screentime and a personal life which is not present in the source material. The addition of Bottom’s wife, who doesn’t exist in Shakespeare’s play, is an example of this. Her line “where is that worthless dreamer?” brings the viewer’s attention to the contrast between Bottom’s ideal life as an actor and his real life in which his passions and dreams are being constantly devalued. This directs the audience’s sympathy towards Bottom and validates his personal concerns, by extension validating the concerns of the working class as a whole.

Whilst Kevin Kline is known as an esteemed dramatic actor, winning an Academy Award in 1989, Matt Lucas is best known for his roles in comedies such as Little Britain and Come Fly With Me. This contrast in casting may suggest that Kerr does play into the stereotype of Bottom as a “buffoon”, as viewers may expect a purely comedic performance from Lucas. This is true throughout most of the film, but is subverted in the performance of Pyramus and Thisbe. If Hoffman neutralises the class tensions in this scene by reducing the amount of scorn the aristocrats show towards the mechanicals, then Kerr strongly reinforces this tension by showing Theseus crossing out the faces of the mechanicals and presumably planning to kill them. When Theseus dies, this balance of power is overturned and his violence towards the working class ends. Bottom may be a buffoon, but he and the rest of the working class within the film ultimately end up on top.

25 Riga, Frank P. ‘“Where is that Worthless Dreamer?” Bottom’s Fantastic Redemption in Hoffman’s A Midsummer Night’s Dream’ in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature, volume 25, number 1. (Weatherford: Southwestern Oklahoma State University, 2006) Pp. 197-211. (Pp 197) 9

LIT257: Shakespeare on Film Assessment Two Student Number 200148274

One influence of the ‘Bard Boom’ on Hoffman’s A Midsummer Night’s Dream is the “keen desire not to offend, especially where gender is concerned”26. For example, the film does not linger on the violence that is faced by women and the idea that Hermia may be killed for not marrying the man her father has chosen for her is merely mentioned in passing. Furthermore, Bottom’s wife, the only female character who has been added to the source text, is presented merely as a barrier to Bottom’s acting career with no storyline of her own. It can be argued that, in his haste to elevate the role of the working class within the film, Hoffman reinforces negative stereotypes of women as nagging, uptight and shrewish. Kerr, on the other hand, not only places focus on the issues women face withi...