The directors reinterpret the character of Gertrude to fit a more contemporary understanding of womanhood whilst considering the play’s misogyny: Zeffirelli's Gertrude represents a glorified woman, objectified by the male gaze and Doran's Gertrude an autonomous woman, who is prone to being manipulated.
Table of Contents
1. Introduction
2. Gertrude’s Autonomy at Court
2.a. Gertrude’s Role as a Woman
2.b. Gertrude’s Role as a Wife and Widow
2.c. Gertrude’s Role as a Mother
3. Conclusion
4. Works Cited
Objectives and Topics
This essay examines how film adaptations of Shakespeare's Hamlet reinterpret the character of Gertrude to address contemporary understandings of womanhood and sexuality while contending with the play's inherent misogyny. The research analyzes the shifting depiction of Gertrude, focusing on the dichotomy between her agency and her objectification through the male gaze.
- The depiction of Gertrude's femininity in film adaptations
- Gertrude’s autonomy within a patriarchal royal court
- The tension between Gertrude’s identities as queen, wife, and mother
- Comparing Zeffirelli's and Doran's cinematic interpretations of Gertrude
- The impact of male influence on Gertrude’s narrative agency
Excerpt from the Book
Gertrude’s Role as a Woman
Considering one of Hamlet’s most famous quotes, “[f]railty, thy name is woman” (Thompson and Taylor 207, 1.2.146), it is of interest to analyze how film adaptations depict womanhood concerning female autonomy. As a Shakespearean female character, Gertrude is woven into the context of the play as an appendix to her male counterparts and their character development. Even though the Queen rarely acts as her own person and, instead, is reduced to an extension of other individuals, male characters “do not need to be considered in relation to a female character for full recognition” (Özmen 159).
In Zeffirelli’s film adaptation, Gertrude is elevated from being an appendix to being the focus of attention. Crowl describes this Gertrude as the “golden girl at the center of a drab masculine world” (Crowl 57), highlighting her physical appearance and her youthful mannerisms as invigorating features of her personality. This change of perspective grants Gertrude the ability to be perceived in a male-dominated world. However, it also subjects her to both the lust of the male gaze and the admiration of the female gaze (Crowl 58).
Summary of Chapters
1. Introduction: Presents the central tension in Gertrude’s characterization as a figure often scapegoated for the events at Elsinore, setting the stage for a critical analysis of contemporary film adaptations.
2. Gertrude’s Autonomy at Court: Explores how social conventions constrain Gertrude’s independence and how she navigates her limited agency in a patriarchal structure.
2.a. Gertrude’s Role as a Woman: Analyzes Gertrude’s physical presentation in film and how her perceived youthful femininity leads to her objectification.
2.b. Gertrude’s Role as a Wife and Widow: Examines the conflicts inherent in Gertrude’s identity as she tries to balance her status as a grieving widow with her role as Claudius’s new wife.
2.c. Gertrude’s Role as a Mother: Looks at the strained relationship between Hamlet and Gertrude, specifically the impact of Hamlet’s hostility and the sexualized implications of their interactions.
3. Conclusion: Summarizes how recent cinematic adaptations continue to wrestle with the sexualization of the maternal body while offering limited paths to female emancipation.
4. Works Cited: A comprehensive list of academic sources and filmography utilized for the analysis.
Keywords
Hamlet, Gertrude, Shakespeare, Film Adaptations, Femininity, Autonomy, Misogyny, Objectification, Zeffirelli, Doran, Motherhood, Patriarchy, Agency, Cinematic Representation, Royal Court
Frequently Asked Questions
What is the primary objective of this research?
The essay explores how Gertrude in Shakespeare’s Hamlet is adapted in modern film to counter historical misinterpretations, seeking to understand the limits of her agency in a patriarchal setting.
What are the core themes addressed in the work?
Key themes include gender dynamics, the objectification of women, the maternal role, agency within royal structures, and the influence of the male gaze in cinematic storytelling.
What primary research question guides the essay?
The study asks whether Gertrude deserves the label of a "pernicious woman" and how film directors recontextualize her character to better fit modern depictions of femininity.
What methodology is employed?
The work utilizes a comparative textual and film analysis, evaluating how Franco Zeffirelli and Gregory Doran interpret Gertrude’s actions in relation to the original Shakespearean source material.
What does the main body focus on?
The chapters break down Gertrude’s specific roles as a woman, wife/widow, and mother, analyzing the tension in how she is perceived versus how she acts on her own volition.
Which keywords define this work?
The work is characterized by terms such as Hamlet, Gertrude, autonomy, cinematic adaptation, femininity, and patriarchal resistance.
How do Zeffirelli and Doran differ in their portrayal of Gertrude?
Zeffirelli focuses more on Gertrude’s outward beauty and youth, which potentially reinforces her objectification, whereas Doran portrays her with more maturity, emphasizing her attempts to navigate political power dynamics.
What is the significance of the "closet scene" in these adaptations?
The closet scene is analyzed as the climax of the conflict where Gertrude’s maternal space is invaded; it highlights the tension between her attempts at maternal compassion and the forced objectification imposed by Hamlet.
How does Gertrude respond to being blamed for the unrest in Denmark?
The analysis argues that while Gertrude is often passive, she makes choices, such as her remarrying or drinking from the poisoned chalice, which are interpreted by the text as attempts at agency, albeit ones that often lead to her tragic failure or death.
- Quote paper
- Laura Kraus (Author), 2021, Frailty, Thy Name is Woman. The depictions of Gertrude and her femininity in Franco Zeffirelli and Gregory Doran’s adaptations of "Hamlet", Munich, GRIN Verlag, https://www.grin.com/document/1334155
