The durable Bond is back once more in Spectre. Little has changed and there has even been reversion. M has back-morphed into a man, Judi Dench giving way to Ralph Fiennes. 007 still works miracles, and not the least of these is financial – Pinewood Studios hope for another blockbuster movie. Hollywood roll over and die.
It is said in the domestic practice of law that the facts are sometimes more important than the law. Advocates often win and lose cases on their facts, despite the perception that the law’s formalism and abstraction are to blame for its failures with regards to delivering justice.
Thomas De Quincey produced two versions of his most famous work, Confessions of an English Opium-Eater. He launched himself to fame with the first version, which appeared in two instalments in the London Magazine for September and October 1821, and which created such a sensation that the London’s editors issued it again the following year in book form.
There is no one more acutely aware of the damage done to his reputation in recent years than Gérard Depardieu himself. “When I travel the world” he admitted to Léa Salamé in a recent interview for France Inter radio “what people remember above all else is that I pissed in a plane, I’m Russian, and that I wrote a letter of protest to the Prime Minister.”
Describing her role as the ambitious political wife Claire Underwood in the American TV series House of Cards, Robin Wright recognized she is “Lady Macbeth to [Francis] Underwood’s Macbeth.” At one point in the second series, Claire emboldens her wavering husband: “Trying’s not enough, Francis. I’ve done what I had to do. Now you do what you have to do.”
Since the advent of film and television production, Shakespeare’s plays have been adapted, re-imagined, and performed on screen hundreds of times. Although many early Shakespeare adaptations remained faithful to his work, over time writers and directors selected only certain characters, plot lines, conflicts, or themes into their films.
In anticipation of Shakespeare celebrations next year, we asked Oxford University Press and Oxford University staff members to choose their favourite Shakespeare adaptation. From classic to contemporary, the obscure to the infamous, we’ve collected a whole range of faithful and quirky translations from play text to film. Did your favourite film or television programme make the list?
From baristas preparing pumpkin spiced lattes to grocery store aisles lined with bags of candy, the season has arrived for all things sweet-toothed and scary. Still, centuries after the holiday known as “Halloween” became cultural phenomenon, little is known to popular culture about its religious, artistic, and linguistic dimensions.
From the birth of film, Shakespeare’s plays have been a constant source of inspiration for many screenwriters, directors, and producers. As a result, hundreds of film and television adaptations have been made, each featuring either a Shakespearean plot, theme, character, or all three.
It’s fun to read Shakespearean plays, but watching our most beloved scenes on stage or screen makes the characters and the plots even more engaging. Reading the scene in which Juliet wakes up to find her Romeo dead is indeed tragic, but watching Claire Danes and Leonardo DiCaprio lock eyes right before he dies is heart-wrenching. Gazing, unable to reach through the screen and offer help, as Ralph Fiennes is outnumbered and murdered in his directorial debut, Coriolanus, is unparalleled.
When some one says to you “that’s just a fairy tale,” it generally means that what you have just said is untrue or unreal. It is a polite but deprecating way of saying that your words form a lie or gossip. Your story is make-believe and unreliable. It has nothing to do with reality and experience. Fairy tale is thus turned into some kind of trivial story.
Any assertions of ‘firsts’ in cinema are open invitations to rebuttal, but the BBC has recently broken news of a claim that the West Yorkshire city of Leeds was in fact film’s birthplace. Louis Le Prince, a French engineer who moved to Leeds in 1866, became one of a number of late 19th-century innovators entering the race to conceive, launch, and patent moving image cameras and projectors.
Very soon now, we’ll find out who sings the next James Bond song. SPECTRE, the superspy’s twenty-fifth outing, will be coming out in the fall. But the song will be more like the thirtieth or so, depending on how you count.
After finishing this season’s Oxford World’s Classics reading group season, I obsessed over the characters, Dickens’s literary finesse– nothing was out of bounds of curiosity. The adaptation that caught my attention the most was BBC’s television miniseries that broadcasted on PBS in the US.
Preparing for law school doesn’t have to be purely academic; there’s plenty you can learn from film and TV if you look in the right places. We asked Martin Partington, author of Introduction to the English Legal System, for his top ten film recommendations for new law students and aspiring lawyers.
In Ricki and the Flash, now in theaters, Meryl Streep plays an aging rocker, managing in her fourth decade atop the star pile to once again give us a character unlike any she has played before. Raymond Durgnat attests that, “the stars are a reflection in which the public studies and adjusts its own image of itself…The social history of a nation can be written in terms of its film stars.” So what does Streep’s capricious, unpredictable style reflect?