Shakespeare, Cinema, and Linguistic Discourse in My Own Private Idaho and Chimes at Midnight

Cameron Butt

Abstract


By examining Orson Welles's Chimes at Midnight (1965) and Gus Van Sant's My Own Private Idaho (1991), this essay explores how adapting Shakespeare's language into a cinematic medium plays out a sociological shift from a high to a low literary discourse.

Full Text:

PDF

References


Anderegg, Michael. “Shakespeare in Las Vegas: Welles and American Culture”, “Chimes at Midnight: Rhetoric and History”. Orson Welles, Shakespeare, and Popular Culture. Ed. John Belton. New York: Columbia UP, 1999. 1-18, 123-140. Print.

Barnaby, Andrew. “Imitation as Originality in Gus Van Sant’s My Own Private Idaho”. Almost Shakespeare: Reinventing His Works for Cinema and Television. Ed. James R. Keller and

Leslie Stratyner. Jefferson, NC: McFarland & Company, 2004. 22-41. Print.

Buchman, Lorne M. “Temporal Multiplicity: Patterns of Viewing in Cinematic Time”. Still in Movement: Shakespeare on Screen. New York: Oxford UP, 1991. 107-25. Print.

Cartmell, Deborah. “Film as the New Shakespeare and Film on Shakespeare: Reversing the Shakespeare/Film Trajectory”. Literature Compass 3.5 (2006): 1150-59. Wiley Online Library. Web. 24 October 2011.

Falstaff: Chimes at Midnight. Dir. Orson Welles. Perf. Orson Welles, Jeanne Moreau, Margaret Rutherford, Keith Baxter, John Gielgud, Marina Vlady, Fernando Rey, Beatrice Welles, Ingrid Pitt. 1965. Balzac, 1987. VHS.

Garber, Marjorie. “Introduction”. Shakespeare and Modern Culture.

Howlett, Cathy M. “Utopian Revisioning of Falstaff’s Tavern World: Orson Welles’s Chimes at Midnight and Gus Van Sant’s My Own Private Idaho”. The Reel Shakespeare: Alternative Cinema and Theory. Ed. Lisa S. Starks and Courtney Lehmann. Cranbury, NJ: Associated UP, 2002. 165-88. Print.

Jess-Cooke, Carolyn. “Popularization”. Shakespeare on Film: Such Things as Dreams Are Made Of. London: Wallflower, 2007. 83-102. Print.

MacCabe, Colin. “The Revenge of the Author”, “Abusing Self and Others: Puritan Accounts of the Shakespearean Stage”. London: British Film Institute: 1999. 33-42, 81-94. Print.

McDonald, Russ. “Performances, Playhouses, and Players”, “From Bracegirdle to Branagh: Shakespeare in Performance from 1660 to the Present”. The Bedford Companion to Shakespeare. Boston: Bedford, 2001. 109-144, 353-405. Print.

My Own Private Idaho. Dir. Gus Van Sant. Perf. River Phoenix, Keanu Reeves, James Russo, William Richert, Chiara Caselli, Tom Troupe, Udo Kier. 1991. Criterion, 2005. DVD.

Rosenbaum, Ron. “Shakespeare on Film: A Contrarian Argument”. The Shakespeare Wars: Clashing Scholars, Public Fiascoes, Palace Coups. New York: Random House, 2006. 316-49. Print.

Rothwell, Kenneth S. “Shakespeare in Silence: from Stage to Screen”, “Orson Welles: Shakespeare for the art houses”. A History of Shakespeare on Screen: A Century of Film and Television. 2nd ed. New York: Cambridge UP, 2004. 1-26, 69-90. Print.

Saussure, Ferdinand de. “From Course in General Linguistics”. The Norton Anthology of Theory and Criticism. Ed. Vincent B.

Leitch. New York: Norton, 2010. 850-66. Print.

Shakespeare, William. The First Part of King Henry the Fourth, The Second Part of King Henry the Fourth, The Life of King Henry the Fifth. The Complete Pelican Shakespeare. Ed. Stephen Orgel and A.R. Braunmuller. New York: Penguin, 2002. 1044-1164. Print.

Wiseman, Susan. “The Family Tree Motel: Subliming Shakespeare in My Own Private Idaho”. Shakespeare the Movie II: Popularizing the Plays on Film, TV, Video, and DVD. Ed. Richard Burt and Lynda E. Boose. London: Routledge, 2003. 200-12. Print.






EISSN  1927-4599
University of Victoria