Women And Visual Representations Of Space In Two Chinese Film Adaptations Of Hamlet
Bibliographic Data
| ID | 16814841 |
|---|---|
| Authors | WAI FONG CHEANG (Chang Gung University, corresponding author) |
| Year | 2014 |
| Volume | 13 |
| Issue | 1 |
| Pages | 1-21 |
| Publication date | 2014-12-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Gender Studies (BOOK_SERIES) |
| Journal identifiers | ISSN: 1583-980X • E-ISSN: 2286-0134 |
| Publisher | Walter de Gruyter GmbH (PUBLISHER • DE) |
| DOI | 10.1515/genst-2015-0001 |
| OpenAlex | W950743224 |
| Language | EN |
| References cited | 3 |
This paper studies two Chinese film adaptations of Shakespeare’s Hamlet, Xiaogang Feng’s The Banquet (2006) and Sherwood Hu’s Prince of the Himalayas (2006), by focusing on their visual representations of spaces allotted to women. Its thesis is that even though on the original Shakespearean stage details of various spaces might not be as vividly represented as in modern film productions, spaces are still crucial dramatic elements imbued with powerful significations. By analyzing the two Chinese film adaptations alongside the original Hamlet text, the paper attempts to reinterpret their different representations of spaces in relation to their different historical-cultural gender notions
Aesthetics · Art · Art history · Banquet · HAMLET (protein complex · Linguistics · Literature · Relation (database · Sociology · Computer Science · History · Media, Gender, and Advertising · Philippine History and Culture · Philosophy · Shakespeare, Adaptation, and Literary Criticism
| Highly cited | No |
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