A Shakespeare anthology reads:
“Hamlet seems always to have been the most discussed work of literature in the world.” It has fascinated people for all times, and inspired them to critically write about the play itself, Hamlet’s character, or the various contradictions and paradoxes of the plot, e.g. the good or evil nature of the Ghost, Hamlet’s real or pretended madness, or his hesitation to kill Claudius. A sheer volume of material has been published.
It is a play that has put people under a spell, then in the Renaissance, as well as today, 400 years later. Questions have been raised, but the riddle has never really been solved, although different types of critics, theories and analyses have been applied to interpret and understand this world famous dramatic piece of art.
This essay shall not solve the mystery of Hamlet, but examines how Shakespeare's play has been transformed into the medium film and how these adaptations reflect the time in which they were produced. There have been uncountable film reworkings of Hamlet – many of various approaches and emphases. This paper focuses on two versions, Asta Nielsen's silent Hamlet – one of the first Hamlet films ever made, and Hamlet (2000) - the first Hamlet adaptation of the new millennium. Both films are produced in a totally different period of film history with nearly a century in between. Still, they have many similarities, especially concerning the way of how this play has been translated into its given time of production. Therefore, aspects like the circumstances of the films, their place in history, the viewing habits of the audience at that time, film criticism and how the films relate to the issues of the world, are going to be examined. For a precise analysis I have prepared sequence protocols (see appendix) of the films to compare them to each other and to the play. To begin with, a short overview of Hamlet on film is presented to make the reader aware of its long, everlasting history.
Table of Contents
1 Introduction
2 The Tradition of Hamlet on Screen
3 Silent versus Sound: Film Analyses
3.1 Hamlet - not Shakespeare's Invention
3.2 Was Hamlet a Woman?
3.2.1 Hamlet (1920) in its time
3.3 Hamlet – Our Contemporary
3.3.1 Hamlet (2000) in its time
4 Comparing Hamlet (1920) to Hamlet (2000)
5 Conclusion:
6 Appendix
6.1 Filmography of Hamlet 1987-2005
6.2 . Scenario – Hamlet, Prince of Denmark by William Shakespeare
6.3 Sequence record – Hamlet (2000) by Michael Almereyda
Objectives and Thematic Focus
This essay explores how Shakespeare's play "Hamlet" has been adapted into film across different historical periods, specifically focusing on how these adaptations reflect the zeitgeist of their production time. The study examines Asta Nielsen's silent "Hamlet" (1920) and Michael Almereyda's "Hamlet" (2000) to analyze how the medium and social context influence the interpretation of the play's themes.
- Comparison of early silent film adaptations vs. modern cinematic interpretations.
- Examination of gender-bending in the 1920 Asta Nielsen version.
- Analysis of media-saturated contemporary settings in the 2000 Almereyda version.
- Investigation of how political and psychological contexts shape filmic narrative.
- Evaluation of the film adaptation as a mirror of its contemporary cultural environment.
Excerpt from the Book
3.1 Hamlet - not Shakespeare's Invention
When we think of Hamlet, we do always connect it with Shakespeare. However, the basic Hamlet story has existed long before Shakespeare wrote his version of the play. The legend derives from an Icelandic folk-tale. The oldest literary reference dates back to the 13th century in the Historia Danica of Saxo Grammaticus. It presents the story of a prince, Amleth, who takes revenge for the death of his father, the king. In order to protect himself, and to outwit the murderer, the king’s brother and newly wed queen’s husband, Amleth pretends madness. As the new king gets suspicious, Amleth is spied upon by a handsome girl, and by a king’s councillor while talking to his mother. When he finds out about the spy, Amleth kills him, cuts up the body, and feeds the pigs with it. The king sends Amleth to England with the intention to have him hanged, but Amleth reads and changes the letter, so his two attendants are killed instead. After being absent for a year, he returns disguised, sets the palace on fire, kills his uncle, and becomes the new king.
Similar elements occur in Shakespeare’s Hamlet, though it is more likely, that his direct source was a Hamlet play of the 1580’s based on a translation of Saxo’s version by François de Belleforest, published in his Histoires Tragique in 1570.
Summary of Chapters
1 Introduction: This chapter outlines the enduring fascination with Hamlet and introduces the paper's aim to compare how different film adaptations reflect the time of their production.
2 The Tradition of Hamlet on Screen: The author provides an overview of Hamlet’s history in cinema, noting the shift from theatrical stage-reproductions to distinct filmic modes.
3 Silent versus Sound: Film Analyses: This chapter provides an in-depth analysis of two specific adaptations, examining their sources, directorial choices, and the societal contexts they inhabit.
3.1 Hamlet - not Shakespeare's Invention: An investigation into the historical legends and literary origins of the Hamlet story that predate Shakespeare.
3.2 Was Hamlet a Woman?: Discussion of the historical critical discourse surrounding the character’s gender, particularly the theory proposed by Edward P. Vining.
3.2.1 Hamlet (1920) in its time: Analysis of Asta Nielsen’s performance and the reception of the 1920 silent film within the context of early cinema and gender roles.
3.3 Hamlet – Our Contemporary: Focuses on the 2000 version by Michael Almereyda and how it retains Shakespeare’s language while utilizing modern technology.
3.3.1 Hamlet (2000) in its time: Explores audience reception, the role of new media, and the contemporary debate surrounding modern adaptations.
4 Comparing Hamlet (1920) to Hamlet (2000): A comparative study highlighting the similarities and differences between two films separated by eighty years of cinematic history.
5 Conclusion: The author summarizes how both films serve as mirrors of their respective social circumstances and confirms the enduring, transnational nature of the play.
6 Appendix: Provides supplementary technical data including a detailed filmography and sequence records for the analyzed films.
Keywords
Hamlet, William Shakespeare, Film adaptation, Asta Nielsen, Michael Almereyda, Silent movie, Media, Contemporary, Gender roles, Historical context, Tradition, Screen, Adaptation, Interpretation, Cinematic analysis
Frequently Asked Questions
What is the core focus of this academic paper?
The paper examines how Shakespeare's "Hamlet" has been translated into film, comparing two distinct adaptations to see how they reflect the societal and historical contexts of their respective eras.
Which specific film versions are analyzed?
The study focuses on Asta Nielsen’s silent "Hamlet" (1920) and Michael Almereyda’s modern adaptation (2000).
What is the primary objective of this research?
The goal is to explore how filmmakers transform Shakespeare's work for the medium of film and how these versions serve as reflections of the time in which they were produced.
What research methodology does the author use?
The author combines film analysis, historical context, reception research, and a comparative sequence-by-sequence breakdown of the two films to reveal their underlying messages.
What topics are covered in the main body of the work?
The main body covers the literary origins of the Hamlet legend, the reception of cross-gender casting in early film, the use of modern technology in contemporary adaptations, and a comparative analysis of the two chosen versions.
Which key terms describe this study?
Central keywords include Hamlet, Shakespeare, film adaptation, silent cinema, contemporary media, gender roles, and societal reflection.
How does Asta Nielsen’s version treat the character of Hamlet?
Nielsen’s 1920 adaptation presents a cross-gendered Hamlet, based on historical theories that the character might be a woman in disguise.
How does Michael Almereyda’s version modernize the story?
Almereyda sets the play in a contemporary, media-saturated Manhattan, utilizing modern technology like pixelvision cameras and corporate settings while keeping the original Shakespearean language.
What role does the "Appendix" play in this document?
The appendix provides essential technical data, including a comprehensive filmography and detailed sequence protocols that form the basis for the comparative analysis in the text.
- Quote paper
- Magistra Artium Claudia Stehr (Author), 2005, Hamlet - Old mystery dressed in new medium, Munich, GRIN Verlag, https://www.grin.com/document/73830
