Rothwell explores the “anxiety of inauthenticity” provoked by “a text-centric preoccupat (.)ġ For the more reactionary variety of bardolater, there is much to take issue with in Julie Taymor’s cinematic translation of The Tempest 3. 4 Taymor reshaped the backstory, inserting lines of verse by Glen Berger before reverting to Shakespe (.).Direction and screenplay by Julie Taymor. Touchstone Pictures and Miramax Films, 2010. By viewing the film through an ecocritical lens, whilst borrowing terminology from Gilles Deleuze and Félix Guattari, the figure of Ariel can be seen as operating on a “molecular plane” of ontological interconnectivity, in contrast to the “molar mode” of binary oppositions inherent in Prospera’s desire to dominate natural forces. Taymor attributes a rather unproblematic power of manipulation of the natural world to her Prospera, yet some of her directorial choices, operating within the specificity of the film medium, tend nonetheless to highlight certain ecocritically-relevant dimensions of Shakespeare’s text. This article presents a brief overview of some ecocritical readings of The Tempest, before interpreting Julie Taymor’s cinematographic adaptation in the light of such considerations. The burgeoning field of ecocriticism takes what Cheryll Glotfelty has referred to as an “earth-centered approach” to cultural productions, with ecocritics sharing a concern with the interconnectedness of human and non-human spheres.
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