Shakespearean Drama, Disability, and the Filmic Stare: “Not Shap’d For Sportive Tricks” (Routledge Studies in Literature and Health Humanities)

__Shakespearean Drama, Disability, and the Filmic Stare__ synthesizes Laura Mulvey’s male gaze and Rosemarie Garland-Thomson’s stare into a new critical lens, the filmic stare, in order to understand and analyze the visual construction of disability in adaptations of Shakespearean drama. The book explores the intersections of adaptation studies, film studies, Shakespeare studies, and disability studies to analyze twentieth and twenty-first century representations of both physical disability and ‘madness’ in global cinematic film, television film, and digital broadcast cinema in Shakespeare’s works. __Shakespearean Drama, Disability, and the Filmic Stare__ argues that the filmic stare does not differentiate between male and female characters with disabilities, or between powerful and powerless figures in disability representation. This multi-disciplinary volume is ideal for disability studies scholars, Shakespeare scholars, and those interested in adaptations of Shakespeare’s famous works. Shakespearean Drama, Disability, and the Filmic Stare synthesizes Laura Mulvey’s male gaze and Rosemarie Garland-Thomson’s stare into a new critical lens, the filmic stare, in order to understand and analyze the visual construction of disability in adaptations of Shakespearean drama. The book explores the intersections of adaptation studies, film studies, Shakespeare studies, and disability studies to analyze twentieth and twenty-first century representations of both physical disability and “madness” in global cinematic film, television film, and digital broadcast cinema adaptations of Shakespeare’s works. Shakespearean Drama, Disability, and the Filmic Stare argues that the filmic stare does not differentiate between male and female characters with disabilities, or between powerful and powerless figures in disability representation. This multi-disciplinary volume is ideal for disability studies scholars, Shakespeare scholars, and those interested in adaptations of Shakespeare’s famous works. Cover 1 Half Title 2 Series Page 3 Title Page 4 Copyright Page 5 Table of Contents 6 List of Figures 7 Acknowledgements 8 A Note on the Text 10 Introduction 12 1. Staring, the Filmic Stare, and Theorizing Disability 18 2. Physical Disabilities and the Filmic Stare in Richard III and Titus Andronicus 55 3. Caliban and the Filmic Stare 80 4. Madness, the Filmic Stare, and Hamlet 100 5. Madness, the Filmic Stare, and Ophelia 125 6. Madness, the Filmic Stare, and Macbeth 142 7. The Filmic Stare and Digital Broadcast Cinema 162 Conclusion 180 Index 189 Introduction; "1 Staring,the Filmic Stare,and Theorizing Disability"; 2 Physical Disabilities and the Filmic Stare in Richard III and Titus Andronicus; 3 Caliban and the Filmic Stare; "4 Madness,the Filmic Stare,and Hamlet"; "5 Madness,the Filmic Stare,and Ophelia"; "6 Madness,the Filmic Stare,and Macbeth"; 7 The Filmic Stare and Digital Broadcast Cinema; Conclusion Introduction,1 Staring, the Filmic Stare, and Theorizing Disability,2 Physical Disabilities and the Filmic Stare in Richard III and Titus Andronicus,3 Caliban and the Filmic Stare,4 Madness, the Filmic Stare, and Hamlet,5 Madness, the Filmic Stare, and Ophelia,6 Madness, the Filmic Stare, and Macbeth,7 The Filmic Stare and Digital Broadcast Cinema,Conclusion "Shakespearean Drama, Disability, and the Filmic Stare synthesizes Laura Mulvey's male gaze and Rosemarie Garland-Thomson's stare into a new critical lens, the filmic stare, in order to understand and analyze the visual construction of disability in adaptations of Shakespearean drama. The book explores the intersections of adaptation studies, film studies, Shakespeare studies, and disability studies to analyze twentieth and twenty-first century representations of both physical disability and 'madness' in global cinematic film, television film, and digital broadcast cinema in Shakespeare's works. Shakespearean Drama, Disability, and the Filmic Stare argues that the filmic stare does not differentiate between male and female characters with disabilities, or between powerful and powerless figures in disability representation. This multi-disciplinary volume is ideal for disability studies scholars, Shakespeare scholars, and those interested in adaptations of Shakespeare's famous works"-- Provided by publisher This volume synthesizes Laura Mulvey's male gaze and Rosemarie Garland-Thomson's stare into a new critical lens, the filmic stare, in order to understand and analyze the visual construction of disability in adaptations of Shakespearean drama.