Shakespeare on screen in the digital era: an annotated bibliography 1

Burt, Richard (ed.), Shakespeares after Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture, 2 vols (Westport; London: Greenwood, 2007). [Features chapters on film adaptations, spin-offs, and citations as well as on American, British, and Italian television. Every chapter includes an introductory essay and an annotated filmography.]

Craig, Heidi (ed.), The World Shakespeare Bibliography, 1949–. [Includes a film and television section for each of the plays. Published as a separate issue of Shakespeare Quarterly from 1978 to 2005, it is now available online at www.worldshakesbib.org/. Its latest version covers the years 1960–2020. A full description can be consulted at the World Shakespeare Bibliography website (www.worldshakesbib.org/about).]

An International Database of Shakespeare on Film, Television and Radio, 2008–, www.bufvc.ac.uk/shakespeare/. [A database of approximately 6000 titles, for all known Shakespeare film, television, and radio productions, plus some audio productions and video recordings of stage performances, from 1899 to the present day. It is regularly updated and worldwide in scope.]

Kirwan, Peter, The Bardathon, www.blogs.nottingham.ac.uk/bardathon/. [Reviews stage performances, and also film, television, and radio adaptations, documentaries, DVDs, and productions on YouTube, Zoom, and other streaming platforms.]

Rothwell, Kenneth S., and Annabelle Henkin Melzer, Shakespeare on Screen: An International Filmography and Videography (London: Mansell; New York: Neal-Schuman, 1990). [The most comprehensive reference work on the subject. Lists some 800 films, television productions, and documentaries up to Kenneth Branagh’s Henry V. A revised, expanded version of the database by Kenneth S. Rothwell, José Ramón Díaz Fernández, and Tanya Gough is available online at www.internetshakespeare.uvic.ca/Theater/sip/search.html.]

Vienne-Guerrin, Nathalie, and Patricia Dorval (eds), Shakespeare on Screen in Francophonia, 2011–, www.shakscreen.org/. [A database of Shakespeare-related films and television productions corresponding to the French-speaking countries. Also includes a filmography, a ‘Further Reading’ section, and essays on the subject.]

Aebischer, Pascale, Shakespeare’s Violated Bodies: Stage and Screen Performance (Cambridge: Cambridge University Press, 2004). [Focuses on violence and the violation of bodies in stage, film, and television adaptations of Titus Andronicus (Jane Howell and Julie Taymor), Hamlet (Laurence Olivier, Branagh, and Michael Almereyda), Othello (Orson Welles, Sergei Yutkevich, Stuart Burge, Jonathan Miller, Janet Suzman, Trevor Nunn, and Oliver Parker), and King Lear (Grigori Kozintsev, Peter Brook, and Richard Eyre).]

Aebischer, Pascale, Shakespeare, Spectatorship and the Technologies of Performance (Cambridge: Cambridge University Press, 2020). [Discusses candlelit performances and the use of new technologies, intermedial and social media performance, as well as live theatre broadcasts. Among several productions of early modern plays, analyses Dominic Dromgoole’s The Tempest, Gregory Doran’s The Tempest, Simon Godwin’s Hamlet, and Cheek by Jowl’s Measure for Measure. Also pays attention to such social media productions as Such Tweet Sorrow and A Midsummer Night’s Dreaming.]

Albanese, Denise, Extramural Shakespeare (New York; Basingstoke: Palgrave Macmillan, 2010). [Chapters discuss Al Pacino’s Looking for Richard, Branagh’s Hamlet, and Baz Luhrmann’s Romeo + Juliet.]

Anderegg, Michael, Cinematic Shakespeare (Lanham: Rowman & Littlefield, 2004). [Examines the Shakespeare film as a subgenre of the literary adaptation. Includes chapters on Olivier’s Henry V and Richard III, John Madden’s Shakespeare in Love, film productions of Romeo and Juliet (George Cukor, Renato Castellani, Zeffirelli, and Luhrmann), Joseph L. Mankiewicz’s Julius Caesar, Welles’s Macbeth, Branagh’s adaptations, and the films of the 1990s (Parker’s Othello, Richard Loncraine’s Richard III, Nunn’s Twelfth Night, Michael Hoffman’s A Midsummer Night’s Dream, Almereyda’s Hamlet, Taymor’s Titus, and Peter Greenaway’s Prospero’s Books) as well as Shakespeare on television (George Schaefer’s productions for the Hallmark Hall of Fame, the BBC Shakespeare series, and Eyre’s King Lear).]

Anile, Alberto, Orson Welles in Italia (Milan: Il Castoro, 2006). English-language version: Orson Welles in Italy, trans. Marcus Perryman (Bloomington: Indiana University Press, 2013). [Several chapters and interviews discuss the shooting and the reception of his adaptation of Othello in Italy.]

Babiak, Peter E. S., Shakespeare Films: A Re-evaluation of 100 Years of Adaptations (Jefferson: McFarland, 2016). [Chapters discuss the films of Olivier, Welles, Akira Kurosawa, Kozintsev, Zeffirelli, Brook, Tony Richardson, Roman Polanski, and Branagh. Also examines Paul Mazursky’s Tempest, Francis Ford Coppola’s The Godfather trilogy, Loncraine’s Richard III, Romeo + Juliet, Titus, and Almereyda’s Hamlet.]

Balizet, Ariane M., Shakespeare and Girls’ Studies (New York; London: Routledge, 2020). [Among others, examines films (Carlo Carlei’s Romeo and Juliet, Romeo + Juliet, Gil Junger’s 10 Things I Hate About You, Andy Fickman’s She’s the Man, Raja Gosnell’s Never Been Kissed, Tommy O’Haver’s Get Over It, and Almereyda’s Hamlet), television series (My So-Called Life, Buffy the Vampire Slayer, Gilmore Girls, Gossip Girl, and Switched at Birth), and web series (Rome and Juliet, Like, As It Is, Twelfth Grade (or Whatever), A Document of Madness, The Better Strangers, Hamlet the Dame, and Shrew That) specifically targeted at a female teen audience.]

Barnes, Jennifer, Shakespearean Star: Laurence Olivier and National Cinema (Cambridge: Cambridge University Press, 2017). [Devotes one chapter to each of his Shakespearean films and two others to his unrealised film project of Macbeth.]

Barnes, Todd Landon, Shakespearean Charity and the Perils of Redemptive Performance (Cambridge: Cambridge University Press, 2020). [Examines recent television documentaries (Lawrence Bridges’s Why Shakespeare?, Mel Stuart’s The Hobart Shakespeareans, Jason Zeldes’s Romeo Is Bleeding, Michael Waldman’s My Shakespeare, Alex Rotaru’s Shakespeare High, Claire Lasko and Michael Waldman’s Ballet Saved My Life: Ballet-Hoo!, Lloyd Kramer’s Midsummer in Newtown, and Leslie Sullivan’s A Touch of Greatness) depicting marginalised youth who are ostensibly redeemed by their encounters with Shakespeare.]

Bickley, Pamela, and Jenny Stevens, Shakespeare and Early Modern Drama: Text and Performance (London; New York: Bloomsbury, 2016). [Each chapter compares one play by Shakespeare and another by one of his contemporaries with a stage performance or a film adaptation. Includes sections on Romeo + Juliet, Michael Radford’s The Merchant of Venice, Zeffirelli’s The Taming of the Shrew, Titus, and Kozintsev’s Hamlet.]

Bickley, Pamela, and Jenny Stevens, Studying Shakespeare Adaptation: From Restoration Theatre to YouTube (London; New York: Bloomsbury, 2020). [Includes sections on Bornila Chatterjee’s The Hungry, the second season of The Hollow Crown, Max Reinhardt and William Dieterle’s A Midsummer Night’s Dream, Efim Gambourg’s Romeo and Juliet for The Animated Tales series, Romeo and Juliet on YouTube, Nunn’s The Merchant of Venice, Vishal Bhardwaj’s Haider, Dimitri Buchowetzki’s Othello, Akira Kurosawa’s Ran, Tom Magill’s Mickey B, Almereyda’s Cymbeline, Doran’s The Winter’s Tale, Christopher Wheeldon’s The Winter’s Tale, and Derek Jarman’s The Tempest.]

Blackwell, Anna, Shakespearean Celebrity in the Digital Age: Fan Cultures and Remediation (Cham: Palgrave Macmillan, 2018). [Chapters discuss Branagh and Shakespearean celebrity, Tom Hiddleston’s celebrity onstage and online, the live broadcasts of Lyndsey Turner’s Hamlet and Doran’s Hamlet, and Richard III as a new form of digital Shakespearean.]

Bono, Paola, Il Bardo in musical (Riano: Editoria & Spettacolo, 2009). [Apart from a detailed introduction to the subject, features chapters on Branagh’s Love’s Labour’s Lost, George Sidney’s Kiss Me Kate, Robert Wise and Jerome Robbins’s West Side Story, and Roberta Torre’s Sud Side Stori.]

Bronfen, Elisabeth, Serial Shakespeare: An Infinite Variety of Appropriations in American TV Drama (Manchester: Manchester University Press, 2020). [Discusses the following television series as examples of the appropriation, dissemination, and reassemblage of Shakespeare’s plays in contemporary media culture: Westworld, The Wire, Commander in Chief, House of Cards, Veep, Homeland, Scandal, Deadwood, and The Americans.]

Buchanan, Judith, Shakespeare on Film (Harlow: Pearson-Longman, 2005). [A survey of the history of Shakespeare on film featuring chapters on silent versions, Kurosawa’s films, American derivatives (Erle C. Kenton’s Island of Lost Souls, Monte Hellman’s Iguana, Fred McLeod Wilcox’s Forbidden Planet, William Reilly's Men of Respect, and Tim Blake Nelson’s O), films of A Midsummer Night’s Dream (Reinhardt and Dieterle, Celestino Coronado, Adrian Noble, and Hoffman), film adaptations and offshoots of The Tempest (Jarman’s film, Prospero’s Books, and Tempest), Branagh’s films and the post-1989 adaptations (Kristian Levring’s The King Is Alive, Romeo + Juliet, Almereyda’s Hamlet, and Titus).]

Buchanan, Judith, Shakespeare on Silent Film: An Excellent Dumb Discourse (Cambridge: Cambridge University Press, 2009). [Mainly focuses on the surviving silent films. Examines William Kennedy-Laurie Dickson’s King John, Percy Stow’s The Tempest, Gerolamo Lo Savio’s Otello and Re Lear, the Vitagraph films, Enrico Guazzoni’s Julius Caesar, Barry O’Neil’s The Winter’s Tale, Mario Caserini’s Amleto, Eleuterio Rodolfi’s Amleto, J. M. Barrie’s The Real Thing at Last, John Emerson’s Macbeth, J. Gordon Edwards’s Romeo and Juliet, John W. Noble’s Romeo and Juliet, Sven Gade and Heinz Schall’s Hamlet: The Drama of Vengeance, and Buchowetzki’s Othello.]

Buhler, Stephen M., Shakespeare in the Cinema: Ocular Proof (Albany: State University of New York Press, 2002). [Offers a comprehensive overview of cinematic Shakespeare by focusing on strategies of adaptation shared by filmmakers with examples ranging from King John to Titus.]

Burnett, Mark Thornton, Filming Shakespeare in the Global Marketplace (Basingstoke; New York: Palgrave Macmillan, 2007). [Discusses Branagh’s In the Bleak Midwinter, James Callis and Nick Cohen’s Beginner’s Luck, Roger Goldby’s Indian Dream, Get Over It, Branagh’s Much Ado About Nothing, Hoffman’s A Midsummer Night’s Dream, film and television adaptations of Hamlet (Branagh, Almereyda, and Stephen Cavanagh) and Macbeth (Jeremy Freeston, Michael Bogdanov, and Doran), Oliver Parker’s Othello, Radford’s The Merchant of Venice, Greg Lombardo’s Macbeth in Manhattan, The King Is Alive, James Gavin Bedford’s The Street King, Roysten Abel’s In Othello, David LaChapelle’s Romeo and Juliet, and Branagh’s As You Like It. The paperback edition (2012) adds a preface in which several recent film adaptations (Taymor’s The Tempest, Ralph Fiennes’s Coriolanus, Alexander Abela’s Makibefo and Souli, Leonardo Henríquez’s Sangrador, Iván Lipkies’s Huapango, Bhardwaj’s Maqbool, and Feng Xiaogang’s The Banquet) are briefly discussed.]

Burnett, Mark Thornton, Shakespeare and World Cinema (Cambridge: Cambridge University Press, 2013). [Focuses on non-Anglophone film adaptations and derivatives: Makibefo and Souli, Maqbool and Omkara, Jayaraah Rajasekharan Nair’s Kaliyattam and Kannaki, Latin American derivatives (Sangrador, Leila Hipólito’s As alegres comadres, and Huapango), Asian adaptations (The Banquet, Sherwood Hu’s Prince of the Himalayas, Cheah Chee Kong’s Chicken Rice War, and Nam Ron’s Gedebe), derivatives of Macbeth (Mohan Koda’s Yellamma, Michael Roes’s Someone Is Sleeping in My Pain, and Bo Landin and Alex Scherpf’s Macbeth) as well as 28 international versions of Romeo and Juliet.]

Burnett, Mark Thornton, Hamlet and World Cinema (Cambridge: Cambridge University Press, 2019). [Discusses non-Anglophone films made in Western Europe (Giorgio Simonelli’s I, Hamlet, Helmut Käutner’s The Rest Is Silence, Claude Chabrol’s Ophélia, Angelos Theodoropoulos’s He Wanted to Become King, Enzo G. Castellari’s Johnny Hamlet, Richard Balducci’s Dust of the Sun, Carmelo Bene’s One Hamlet Less, Aki Kaurismäki’s Hamlet Goes Business, Thomas Vinterberg’s The Celebration, Mireia Ros’s El triunfo, and Herbert Fritsch’s Eleven Uncles), Africa (Terry Bishop’s Hamile: The Tongo Hamlet and Hugues Serge Limbvani’s Hamlet), Brazil (Ozualdo Ribeiro Candeias’s A herança and Mário Kuperman’s O jogo da vida e da morte), China and Japan (Kurosawa’s The Bad Sleep Well, Katô Tai’s Castle of Flames, The Banquet, and Prince of the Himalayas), India (Sohrab Modi’s Khoon-ka-Khoon, Kishore Sahu’s Hamlet, V. K. Prakash’s Karmayogi, Haider, and Anjan Dutt’s Hemanta), Turkey and Iran (Metin Erksan’s The Angel of Vengeance – The Female Hamlet and Varuzh Karim-Masihi’s Doubt), and Russia and Eastern Europe (Kozintsev’s Hamlet, Kirill Serebrennikov’s Playing the Victim, Aleksandar Rajković’s Hamlet, Ciganski Princ, and Martin Šulík’s Gypsy).]

Burnett, Mark Thornton, Courtney Lehmann, Marguerite H. Rippy, and Ramona Wray, Welles, Kurosawa, Kozintsev, Zeffirelli, vol. 17 of Great Shakespeareans (London: Bloomsbury, 2013). [The four essays in this collection survey and discuss the film careers of these international directors. In Welles’s case, particular attention is also paid to his radio and television projects.]

Burrows, Jon, Legitimate Cinema: Theatre Stars in Silent British Films, 1908–1918 (Exeter: University of Exeter Press, 2003). [Features chapters on the 1908 Gaumont Romeo and Juliet, Frank Benson’s Richard III, Will Barker’s Henry VIII, E. Hay Plumb’s Hamlet, and the 1916 Broadwest Merchant of Venice.]

Burt, Richard, and Julian Yates, What’s the Worst Thing You Can Do to Shakespeare? (New York; Basingstoke: Palgrave Macmillan, 2013). [Chapters discuss Andrew Fleming’s Hamlet 2, Abbas Kiarostami’s Where Is My Romeo?, Prospero’s Books, Taymor’s The Tempest, and Roland Emmerich’s Anonymous.]

Calbi, Maurizio, Spectral Shakespeares: Media Adaptations in the Twenty-First Century (New York; Basingstoke: Palgrave Macmillan, 2013). [From a Derridean perspective examines such derivatives as Billy Morrissette’s Scotland, PA, the Shakespeare Retold Macbeth, The King Is Alive, Souli, Sud Side Stori, Alexander Fodor’s Hamlet, Klaus Knoesel’s Rave Macbeth, and the Royal Shakespeare Company’s Such Tweet Sorrow.]

Cartelli, Thomas, Reenacting Shakespeare in the Shakespeare Aftermath: The Intermedial Turn and Turn to Embodiment (New York: Palgrave Macmillan, 2019). [Discusses the recent turn to technological intermediality and embodied physicality in Shakespearean stage and film adaptations. Among others, analyses Haider, Prospero’s Books, The Wooster Group Hamlet, Ivo van Hove’s Roman Tragedies, Annie Dorsen’s A Piece of Work, and Péter Lichter and Bori Máté’s The Rub.]

Cartelli, Thomas, and Katherine Rowe, New Wave Shakespeare on Screen (Cambridge; Malden: Polity, 2007). [Focuses on the films directed in the past 30 years examining different strategies of adaptation and appropriation. Analyses Almereyda’s Hamlet, Titus, Looking for Richard, Geoffrey Sax’s Othello, The King Is Alive, Scotland, PA as well as derivatives and citations.]

Cieślak, Magdalena, Screening Gender in Shakespeare’s Comedies: Film and Television Adaptations in the Twenty-First Century (Lanham: Lexington Books, 2019). [Includes chapters on Radford’s The Merchant of Venice, Branagh’s As You Like It, Taymor’s The Tempest, Joss Whedon’s Much Ado About Nothing, as well as the three comedies in the Shakespeare Retold series (Brian Percival’s Much Ado About Nothing, David Richards’s The Taming of the Shrew, and Ed Fraiman’s A Midsummer Night’s Dream).]

Cochran, Peter, Small-Screen Shakespeare (Newcastle: Cambridge Scholars Publishing, 2013). [A book that may be of little use for scholarly purposes because of its impressionistic views and its negative regard of academic criticism. Despite the title, it shows a clear predilection for stage productions instead of filmed or televised adaptations. Furthermore, many of the books that are listed, but never cited, in its bibliography have nothing to do with Shakespeare on screen.]

Cook, Patrick J., Cinematic Hamlet: The Films of Olivier, Zeffirelli, Branagh, and Almereyda (Athens: Ohio University Press, 2011). [Devotes one chapter to each of these film adaptations.]

Coursen, H. R., Shakespeare in Space: Recent Shakespeare Production on Screen (New York: Peter Lang, 2002). [Chapters discuss Deborah Warner’s Richard II, John Caird’s Henry IV, filmed stage performances as well as televised adaptations and derivatives (Eyre’s King Lear, Nicholas Hytner’s Twelfth Night, David Thacker’s Measure for Measure, and Jack Bender’s The Tempest), Hoffman’s A Midsummer Night’s Dream, Shakespeare in Love, the second season of The Animated Shakespeare series, the British Film Institute production of silent films on videotape, Titus, Love’s Labour’s Lost, and Almereyda’s Hamlet.]

Coursen, H. R., Shakespeare Translated: Derivatives on Film and TV (New York: Peter Lang, 2005). [A thorough survey and detailed examination of film, television, and animated derivatives of Romeo and Juliet, Hamlet, Othello, and King Lear.]

Coursen, H. R., Contemporary Shakespeare Production (New York: Peter Lang, 2010). [Chapters discuss the televised adaptations of Richard II directed by David Giles and Warner, the television productions of The Tempest directed by John Gorrie, William Woodman, and Bender, citations of the plays on screen, Radford’s The Merchant of Venice, Branagh’s As You Like It, and Nunn’s King Lear.]

Crowl, Samuel, Shakespeare at the Cineplex: The Kenneth Branagh Era (Athens: Ohio University Press, 2003). [Examines the film adaptations of Shakespeare’s plays from Branagh’s Henry V to the beginning of the 21st century. Chapters discuss Branagh’s films, Zeffirelli’s Hamlet, Nunn’s Twelfth Night, Parker’s Othello, Loncraine’s Richard III, Romeo + Juliet, Christine Edzard’s As You Like It and The Children’s Midsummer Night’s Dream, Noble’s and Hoffman’s A Midsummer Night’s Dream, Titus, and Almereyda’s Hamlet.]

Crowl, Samuel, The Films of Kenneth Branagh (Westport; London: Praeger Publishers, 2006). [Discusses all the films directed by Branagh from Henry V to Love’s Labour’s Lost. Also includes an interview with the filmmaker as well as a chronology and a filmography.]

Crowl, Samuel, Shakespeare and Film: A Norton Guide (New York; London: Norton, 2008). [A guide to the use of Shakespeare on film in the undergraduate classroom providing an overview of the history of Shakespeare on film and television followed by discussions of the ways of thinking and writing about the subject.]

Crowl, Samuel, Shakespeare’s Hamlet: The Relationship between Text and Film (London: Bloomsbury, 2014). [Mainly focuses on Olivier’s and Branagh’s films, but also includes sections on the adaptations directed by Kozintsev, Richardson, Zeffirelli, Almereyda, Campbell Scott, and Prince of the Himalayas.]

Cutura, Zrinka, Hamlet im Film: Von Svend Gade (1920) bis Gregory Doran (2009) (Marburg: Tectum, 2012). [Discusses the adaptations directed by Gade and Schall, Olivier, Kozintsev, Richardson, Zeffirelli, Branagh, Almereyda, and Doran.]

Fabiszak, Jacek, Polish Televised Shakespeares: A Study of Shakespeare Productions within the Television Theatre Format (Poznań: Motivex, 2005). [Thoroughly discusses 25 televised productions of Shakespeare’s plays shown on Polish Television from 1959 to 2004.]

Ferguson, Ailsa Grant, Shakespeare, Cinema, Counter-Culture: Appropriation and Inversion (New York; London: Routledge, 2016). [Chapters analyse Julien Temple’s The Filth and the Fury, Gus Van Sant’s My Own Private Idaho, The King Is Alive, Hamlet Goes Business, The Celebration, and Almereyda’s Hamlet.]

Floreano, Ilaria, Shakespeare e il cinema: Vita e opera del Bardo sul grande schermo (Rome: Gremese, 2016). French-language version: Shakespeare et le cinéma: La vie et l’œuvre du Barde sur le grande écran (Rome: Gremese International, 2016). [An overview of the most important film adaptations as well as some derivatives. The adaptations are listed in chronological order, which may make them difficult to find for readers who do not know their release date. It is even worse in the case of the derivatives as they are not listed in any particular order – Where Is My Romeo? (2007), for instance, appears after Zeffirelli’s Romeo and Juliet (1968) and before Peter Hall’s A Midsummer Night’s Dream (1968). Includes a great collection of unusual stills and posters.]

Földváry, Kinga, Cowboy Hamlets and Zombie Romeos: Shakespeare in Genre Film (Manchester: Manchester University Press, 2020). [Examines derivatives according to their cinematic genres. Chapters discuss westerns (William A. Wellman’s Yellow Sky, Edward Dmytryk’s Broken Lance, Delmer Daves’s Jubal, Andrew V. McLaglen’s McLintock!, Johnny Hamlet, and Mazursky’s Harry and Tonto), melodramas (Walter Reisch’s Men Are Not Gods, Basil Dearden’s All Night Long, Jocelyn Moorhouse’s A Thousand Acres, and Sangeeta Datta’s Life Goes On), film noir and gangster films (Edgar G. Ulmer’s Strange Illusion, Cukor’s A Double Life, Ken Hughes’s Joe Macbeth, Men of Respect, and James Gray’s We Own the Night), teen films (10 Things I Hate About You, Never Been Kissed, She’s the Man, O, Léa Pool’s Lost and Delirious, and Tom Gustafson’s Were the World Mine), vampire and zombie films (Len Wiseman’s Underworld, Jordan Galland’s Rosencrantz and Guildenstern Are Undead, Matt Reeves’s Let Me In, John Murlowski’s Zombie Hamlet, and Jonathan Levine’s Warm Bodies), and biopics (Shakespeare in Love, John McKay’s A Waste of Shame, Anonymous, Richard Bracewell’s Bill, and Branagh’s All Is True).]

Forsyth, Neil, Shakespeare the Illusionist: Magic, Dreams, and the Supernatural on Film (Athens: Ohio University Press, 2019). [Examines film adaptations of A Midsummer Night’s Dream (J. Stuart Blackton, Reinhardt and Dieterle, Hall, Coronado, Noble, Hoffman, Edzard, and Taymor), The Tempest (Stow, Jarman, Taymor, Forbidden Planet, Tempest, and Prospero’s Books), Hamlet (Hamlet: The Drama of Vengeance, Olivier, Kozintsev, Richardson, Coronado, Zeffirelli, Branagh, Scott, Almereyda, Cavanagh, Fodor, and Doran), and Macbeth (Polanski, Welles, Kurosawa, Nunn, Jack Gold, Penny Woolcock’s Macbeth on the Estate, Scotland, PA, Rave Macbeth, Geoffrey Wright, Doran, Justin Kurzel, and Kit Monkman).]

Franssen, Paul, Shakespeare’s Literary Lives: The Author as Character in Fiction and Film (Cambridge: Cambridge University Press, 2016). [Discusses films and television programmes such as Shakespeare in Love, Inés París’s Miguel y William, Will Shakespeare, A Waste of Shame, ‘The Shakespeare Code’ episode from the Doctor Who television series, and Walter Forde’s Time Flies.]

French, Emma, Selling Shakespeare to Hollywood: The Marketing of Filmed Shakespeare Adaptations from 1989 into the New Millennium (Hatfield: University of Hertfordshire Press, 2006). [Examines the film-marketing strategies used for the recent adaptations paying special attention to Branagh’s films, the Hollywood teen movies (Romeo + Juliet, 10 Things I Hate About You, O, Get Over It, and Never Been Kissed) as well as Shakespeare in Love.]

Friedman, Michael D., with Alan Dessen, Titus Andronicus, 2nd edn. (Manchester; New York: Manchester University Press, 2013). [Discusses Howell’s BBC adaptation and Taymor’s film.]

Geal, Robert, Anamorphic Authorship in Canonical Film Adaptation: A Case Study of Shakespearean Films (Cham: Palgrave Macmillan, 2019). [Chapters discuss Mankiewicz’s Julius Caesar, Paolo and Vittorio Taviani’s Caesar Must Die, the films of Romeo and Juliet directed by Castellani, Zeffirelli, and Luhrmann, Olivier’s Hamlet and Richard III, Almereyda’s Hamlet, Kelly Asbury’s Gnomeo and Juliet, Shakespeare in Love, and Anonymous.]

Gerhards, Vanessa, Shakespeare Reloaded: The Shakespeare Renaissance 1989–2004 (Trier: WVT Wissenschaftlicher Verlag Trier, 2011). [A concise overview of the most important film adaptations and derivatives released during that 25-year period, paying particular attention to Branagh’s films.]

González Campos, Miguel Ángel, Adaptaciones a la pantalla de The Tempest de William Shakespeare (Málaga: Universidad de Málaga, 2006). [Chapters discuss Stow’s silent adaptation, the films directed by Jarman and Greenaway, the television productions directed by Schaefer and Gorrie, and Stanislas Sokolov’s version of The Animated Tales series. Derivatives include Yellow Sky, Bender’s The Tempest, Forbidden Planet, the Star Trek ‘Requiem for Methuselah’ episode, Tempest, Michael Powell’s Age of Consent, and Krzysztof Kieslowski’s Trois couleurs: Rouge.]

Green MacDonald, Joyce, Shakespearean Adaptation, Race and Memory in the New World (Cham: Palgrave Macmillan, 2020). [In a study of recent adaptations that focus on Black womanhood, analyses Mira Nair’s Mississippi Masala and Gary Hardwick’s Deliver Us from Eva as adaptations of Romeo and Juliet and The Taming of the Shrew.]

Greer, Michael, Screening Shakespeare: Using Film to Understand the Plays (New York: Pearson Longman, 2004). [A book on the use of Shakespeare on film in the classroom designed for undergraduate students. Includes sections on the comedies, the histories, and the tragedies on film.]

Greer, Michael, and Toby Widdicombe, Screening Shakespeare: Understanding the Plays through Film, 2nd edn. (N.p.: Pearson Education, 2010). [A new edition of Greer’s volume (see above). Expands the sections on the comedies, the histories, and the tragedies on film and adds a new one on the derivatives.]

Griggs, Yvonne, Shakespeare’s King Lear: The Relationship between Text and Film (London: Methuen Drama, 2009). [Focuses on cinematic adaptations (Brook, Kozintsev, and Kurosawa) and offshoots such as Broken Lance, Mankiewicz’s House of Strangers, The Godfather trilogy, Don Boyd’s My Kingdom, A Thousand Acres, Jean-Luc Godard’s King Lear, and The King Is Alive.]

Guneratne, Anthony R., Shakespeare, Film Studies, and the Visual Cultures of Modernity (New York; Basingstoke: Palgrave Macmillan, 2008). [Features a lengthy introduction (1–73) in which a wide number of adaptations and derivatives are examined. The other chapters discuss King John, James Keane’s Richard III, Ernest Warde’s King Lear, Clément Maurice’s Le duel d’Hamlet, Hamlet: The Drama of Vengeance, Buchowetzki’s Othello, Welles’s films, Branagh’s Henry V, Ophélia, Godard’s King Lear, Pier Paolo Pasolini’s Che cosa sono le nuvole?, Prospero’s Books, and Romeo + Juliet.]

Halio, Jay L., A Midsummer Night’s Dream, 2nd edn. (Manchester; New York: Manchester University Press, 2003.) [Includes chapters on the films directed by Reinhardt and Dieterle and Hall as well as the television adaptations directed by Elijah Moshinsky and Joseph Papp. The second edition adds chapters on the films directed by Noble and Hoffman.]

Harris, Jonathan Gil, Masala Shakespeare: How a Firangi Writer Became Indian (New Delhi: Aleph Book Company, 2018). [Chapters focus on the Indian film adaptations of The Comedy of Errors, A Midsummer Night’s Dream, Romeo and Juliet, The Taming of the Shrew, Twelfth Night, Macbeth, Othello, Hamlet, King Lear, The Tempest, and Pericles.]

Harrison, Keith, Shakespeare, Bakhtin, and Film: A Dialogic Lens (Cham: Palgrave Macmillan, 2017). [Analyses Olivier’s Henry V, Branagh’s Henry V and Hamlet, O, Throne of Blood, Welles’s Othello, Prospero’s Books, the adaptations of Hamlet directed by Kurosawa, Kozintsev, Kaurismäki, and Almereyda, Bruce Robinson’s Withnail and I, Godard’s King Lear, Dogme95 films (The Celebration, Lars von Trier’s The Idiots, Søren Kragh-Jacobsen’s Mifune, and The King Is Alive), Scotland, PA, and Deepa Mehta’s Water.]

Hartley, Andrew James, Julius Caesar (Manchester; New York: Manchester University Press, 2014). [Discusses the films directed by David Bradley, Mankiewicz, and Burge as well as Herbert Wise’s BBC adaptation.]

Hartmann, Eva-Maria, Diskursive Strukturen in Filmadaptionen dramatischer und narrative Texte: Eine paradigmatische Analyse ausgewählter Verfilmungen von William Shakespeares Romeo and Juliet und Emily Brontës Wuthering Heights (Münster: Nodus Publikationen, 2007). [Discusses the film adaptations directed by Cukor, Castellani, Zeffirelli, and Luhrmann.]

Hatchuel, Sarah, Shakespeare, from Stage to Screen (Cambridge: Cambridge University Press, 2004). [Draws on ‘narratology, performance history, psychoanalysis and semiotics’ in order to analyse the strategies used by directors to transform a Shakespeare play into a film. Case studies include the comparison of scenes in films of Hamlet (Olivier, Richardson, Zeffirelli, and Branagh), Richard III (Olivier, Loncraine, and Looking for Richard), Othello (Welles and Parker), Julius Caesar (Mankiewicz and Burge), and Henry V (Olivier and Branagh).]

Hatchuel, Sarah, Shakespeare and the Cleopatra/Caesar Intertext: Sequel, Conflation, Remake (Madison: Fairleigh Dickinson University Press, 2011). [Analyses filmed conflations, remakes, and parodies of Julius Caesar and Antony and Cleopatra. Mainly focuses on the BBC series The Spread of the Eagle, Burge’s Julius Caesar, Charlton Heston’s Antony and Cleopatra, Cecil B. DeMille’s Cleopatra, Mankiewicz’s Cleopatra and Julius Caesar, and Gerald Thomas’s Carry on Cleo.]

Henderson, Diana E., Collaborations with the Past: Reshaping Shakespeare across Time and Media (Ithaca; London: Cornell University Press, 2006). [Discusses novel, stage, and screen adaptations of several plays. Includes two lengthy chapters on The Taming of the Shrew and Henry V.]

Henke, Jennifer, Unsex Me Here: Gender und Raum im zeitgenössischen Shakespeare-Film (Trier: Wissenschaftlicher Verlag Trier, 2014). [Examines the relationship between gender and space in Branagh’s Much Ado About Nothing and Henry V, 10 Things I Hate About You, She’s the Man, Loncraine’s Richard III, Looking for Richard, Parker’s Othello, Romeo + Juliet, and Wright’s Macbeth.]

Hindle, Maurice, Studying Shakespeare on Film (Basingstoke; New York: Palgrave Macmillan, 2007). [An introductory guide to the study of Shakespeare on screen. Provides the student with a historical overview and a variety of approaches to analyse both films and television productions. Examines adaptations of Much Ado About Nothing (Branagh), A Midsummer Night’s Dream (Noble and Hoffman), Henry V (Olivier and Branagh), Richard III (Olivier and Loncraine), Romeo and Juliet (Zeffirelli and Luhrmann), Hamlet (Olivier, Branagh, and Almereyda), and Macbeth (Welles and Polanski).] Reprinted in revised and updated form as Shakespeare on Film, 2nd edn. (London; New York: Palgrave, 2015). [Expands and updates some sections to incorporate discussions of post-2004 large- and small-screen adaptations (Fiennes’s Coriolanus and the DVD release of the BBC series An Age of Kings). Also discusses the recent television adaptations (Doran’s Macbeth, Nunn’s King Lear, Doran’s Hamlet and Julius Caesar, Rupert Goold’s Macbeth, and The Hollow Crown).]

Holderness, Graham, Visual Shakespeare: Essays in Film and Television (Hatfield: University of Hertfordshire Press, 2002). [A selection of his writings in the field covering the BBC Shakespeare Series, Throne of Blood, Hall’s A Midsummer Night’s Dream, Coronado’s Hamlet, Jarman’s The Tempest, the films of Henry V directed by Olivier and Branagh, film and TV adaptations of The Taming of the Shrew (Zeffirelli and Miller), and Zeffirelli’s Romeo and Juliet.]

Hopkins, Lisa, Shakespeare’s The Tempest: The Relationship between Text and Film (London: Methuen Drama, 2008). [Apart from a brief overview of the main film adaptations and derivatives, the book mostly focuses on Jarman’s The Tempest, Prospero’s Books, and Forbidden Planet.]

Hopkins, Lisa, Relocating Shakespeare and Austen on Screen (Basingstoke; New York: Palgrave Macmillan, 2009). [Compares films and television adaptations of Jane Austen’s novels with Romeo + Juliet, Almereyda’s Hamlet, In the Bleak Midwinter, James Ivory’s Shakespeare Wallah, and the Shakespeare Retold series.]

Howard, Tony, Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction (Cambridge: Cambridge University Press, 2007). [Discusses Le duel d’Hamlet, Hamlet: The Drama of Vengeance, The Angel of Vengeance – The Female Hamlet, and the documentary Rehearsing Hamlet.]

Hudgens, Michael Thomas, The Shakespeare Films of Grigori Kozintsev (Newcastle: Cambridge Scholars Publishing, 2017). [Analyses Kozintsev’s films of Hamlet and King Lear.]

Jackson, Russell, Shakespeare Films in the Making: Vision, Production and Reception (Cambridge: Cambridge University Press, 2007). [Discusses Reinhardt and Dieterle’s A Midsummer Night’s Dream, Olivier’s Henry V as well as the adaptations of Romeo and Juliet directed by Cukor, Castellani, and Zeffirelli.]

Jackson, Russell, Shakespeare and the English-Speaking Cinema (Oxford: Oxford University Press, 2014). [An overview of Shakespearean filming in Great Britain and the United States. Chapters examine the locations of the action and the choices of historical periods, individual characters and relationships, the role played by the erotic in comedy and tragedy, politics and power plays in the films as well as radical adaptations such as My Own Private Idaho, Tempest, Forbidden Planet, Men of Respect, Joe Macbeth, 10 Things I Hate About You, and O.]

Jess-Cooke, Carolyn, Shakespeare on Film: Such Things as Dreams Are Made of (London: Wallflower Press, 2007). [Focuses on issues of performance (the films of Hamlet directed by Gade and Schall, Olivier, Kozintsev, Zeffirelli, and Branagh), adaptation (Prospero’s Books and The King Is Alive), film style (Welles’s Othello, Titus, Romeo + Juliet, Throne of Blood, Almereyda’s Hamlet, and Loncraine’s Richard III) as well as popularisation (Scotland, PA and O).]

Jones, Maria, Shakespeare’s Culture in Modern Performance (Basingstoke; New York: Palgrave Macmillan, 2003). [Discusses Katherine’s consent in the adaptations of The Taming of the Shrew directed by Taylor, Zeffirelli, and Miller, the depiction of Ophelia and her flowers in the films directed by Olivier, Kozintsev, Zeffirelli, and Almereyda as well as the use of the crown in Warner’s Richard II.]

Katafiasz, Olga, Próby wrazliwosci: Szekspirowskie ekranizacje Laurence’a Oliviera i Kennetha Branagha [Sensibility Test: Laurence Olivier and Kenneth Branagh’s Film Adaptations of Shakespeare’s Dramas] (Krakow: Societas Vistulana, 2005). [Compares Branagh’s and Olivier’s cinematic achievements and directorial styles. Examines the reception and interpretation of their adaptations of Henry V and Hamlet. Also discusses Richard III, Much Ado About Nothing, and Love’s Labour’s Lost.]

Kliman, Bernice W., Macbeth, 2nd revised, expanded edn. (Manchester; New York: Manchester University Press, 2004). [Includes chapters on the films directed by Welles, Kurosawa, and Polanski as well as the television adaptations starring Maurice Evans, Eric Porter, Nicol Williamson, and Ian McKellen in the title role.]

Kossak, Saskia, Frame My Face to All Occasions: Shakespeare’s Richard III on Screen (Vienna: Braumüller, 2005). [An exhaustive analysis of all the adaptations of the play: the silent films directed by Benson and Keane, the films (Olivier, Loncraine, and Raoul Ruiz) as well as its television adaptations (Peter Hall and John Barton’s The Wars of the Roses, Howell, and Bogdanov). Derivatives and citations include Looking for Richard, Rowland V. Lee’s Tower of London, Roger Corman’s Tower of London, Douglas Hickox’s Theatre of Blood, Brian De Palma’s Scarface, The Street King, Herbert Ross’s The Goodbye Girl, Natasha Orlova’s version for The Animated Tales series, and Martin Shardlow’s first episode of the Black Adder TV series.]

Lanier, Douglas, Shakespeare and Modern Popular Culture (Oxford: Oxford University Press, 2002). [Intended as an introduction to the topic for a general audience, the book concerns popular appropriations of Shakespeare in a variety of media, including film and television, radio, theatre, and popular fiction. Discusses a good number of films ranging from Shakespeare in Love to Nicholas Meyer’s Star Trek VI: The Undiscovered Country.]

Leggatt, Alexander, King Lear, 2nd edn. (Manchester; New York: Manchester University Press, 2004). [Includes chapters on the films directed by Kozintsev and Brook as well as the BBC and Granada television adaptations. The second edition adds chapters on Eyre’s television version of the Royal National Theatre production and Ran.]

Lehmann, Courtney, Shakespeare Remains: Theater to Film, Early Modern to Postmodern (Ithaca: Cornell University Press, 2002). [Analyses Branagh’s Hamlet, Romeo + Juliet, Shakespeare in Love, and Almereyda’s Hamlet as allegories of authorship, examining such strategies as appropriation, adaptation, projection, and parody.]

Lehmann, Courtney, Shakespeare’s Romeo and Juliet: The Relationship between Text and Film (London: Methuen Drama, 2010). [Apart from offering a brief history of the play on screen (81–102), mainly focuses on West Side Story, Zeffirelli’s Romeo and Juliet, and Romeo + Juliet.]

Leibnitz, Kimiko, Die Frauenfiguren in Hamlet-Verfilmungen des 20. Jahrhunderts: Eine kulturhistorische Untersuchung (Saarbrücken: VDM Verlag Dr. Müller, 2007). [Analyses the figures of Gertrude and Ophelia as portrayed in film adaptations and derivatives of the play. The films discussed include Le duel d’Hamlet, Caserini’s Amleto, Rodolfi’s Amleto, Hamlet: The Drama of Vengeance as well as the adaptations directed by Plumb, Olivier, Kozintsev, Bill Colleran, Richardson, Coronado, Zeffirelli, Branagh, and Almereyda. The derivatives include Ernst Lubitsch’s To Be or Not to Be, Strange Illusion, The Rest Is Silence, The Bad Sleep Well, Johnny Hamlet, Hamlet Goes Business, Gabriel Axel’s Prince of Jutland, and Let the Devil Wear Black.]

Leonard, Kendra Preston, Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations (Lanham: Scarecrow Press, 2009). [Discusses film adaptations of Hamlet (Olivier, Kozintsev, Zeffirelli, Branagh, and Almereyda), Macbeth (Welles, Kurosawa, Polanski, and Scotland, PA), and King Lear (Kozintsev, Brook, and Kurosawa).]

Lonati, Franco, Segnati dalle stelle: Romeo and Juliet al cinema (Milan: Vita e Pensiero, 2009). [Discusses a wide range of adaptations and derivatives while mainly focusing on the films directed by Cukor, Castellani, Zeffirelli, and Luhrmann as well as West Side Story and Abel Ferrara’s China Girl. Also includes an extensive filmography (185–90).]

Maerz, Jessica M., Metanarrative Functions of Film Genre in Kenneth Branagh’s Shakespeare Films: Strange Bedfellows (Newcastle: Cambridge Scholars Publishing, 2017). [Devotes one chapter to each of his film adaptations.]

Mallin, Eric S., Reading Shakespeare in the Movies: Non-Adaptations and Their Meaning (Cham: Palgrave Macmillan, 2019). [Analyses Christopher Nolan’s Memento, James Cameron’s Titanic, Alejandro G. Iñárritu’s Birdman, Tobe Hooper’s The Texas Chain Saw Massacre, and Martin McDonagh’s Three Billboards Outside Ebbing, Missouri.]

Mancewicz, Aneta, Intermedial Shakespeares on European Stages (Basingstoke; New York: Palgrave Macmillan, 2014). [Focuses on the elements of staging that exhibit the influence of digital media on Shakespearean performance and the issues of intermediality. Examines Armando Punzo’s Hamlice, Stefan Pucher’s Der Sturm, Piotr Lachmann’s Hamlet gliwicki, Thomas Ostermeier’s Hamlet, the Wooster Group Troilus and Cressida, Maria Federica Maestri and Francesco Pititto’s Hamlet, Van Hove’s Roman Tragedies, Luigi de Angelis and Chiara Lagani’s Romeo e Giulietta – et ultra, and Sean Holmes’s A Midsummer Night’s Dream.]

Miller, Gemma, Childhood in Contemporary Performance of Shakespeare (London; New York: Bloomsbury, 2020). [Discusses both stage productions and films. Analyses Polanski’s and Kurzel’s films of Macbeth, Howell’s Titus Andronicus, Titus, Wheeldon’s The Winter’s Tale as well as Branagh and Rob Ashford’s The Winter’s Tale.]

Moore, Tiffany Ann Conroy, Kozintsev’s Shakespeare’s Films: Russian Political Protest in Hamlet and King Lear (Jefferson; London: McFarland, 2012). [Discusses the Russian reception of Hamlet and King Lear from the 18th to the mid-20th century to analyse the social, cultural, and political contexts of Kozintsev’s films.]

Mukherjee, Pradipta, Shakespeare on the Celluloid: Global Perspectives (Burdwan: Avenel, 2014). [Apart from offering a historical overview of the subject, chapters examine Prospero’s Books, The King Is Alive, Looking for Richard, Shakespeare in Love, Romeo + Juliet, Titus, Almereyda’s Hamlet, Scotland, PA, Loncraine’s Richard III, Maqbool, 10 Things I Hate About You, and O.]

O’Neill, Stephen, Shakespeare and YouTube: New Media Forms of the Bard (London; New York: Bloomsbury, 2014). [The first book on the subject. Chapters discuss YouTube as archive and distribution channel, Hamlet on YouTube, issues of race, the Sonnets on YouTube, and the platform’s pedagogical uses.]

Ormsby, Robert, Coriolanus (Manchester: Manchester University Press, 2014). [Chapters analyse Moshinsky’s BBC adaptation and Fiennes’s film.]

Owens, Rebekah, Macbeth (Leighton Buzzard: Auteur, 2017). [Discusses Polanski’s film according to the conventions of the horror genre.]

Panizzi, Andrea, Shakespeare in Movie: Una vita per il teatro. Oltre un secolo di cinema (Genoa: De Ferrari, 2016). [A detailed survey of the most important film adaptations and derivatives of Hamlet, Julius Caesar, Macbeth, Othello, King Lear, Titus Andronicus, Coriolanus, Romeo and Juliet, Henry V, Henry IV, Richard III, The Taming of the Shrew, Much Ado About Nothing, Love’s Labour’s Lost, A Midsummer Night’s Dream, The Merchant of Venice, Twelfth Night, As You Like It, and The Tempest.]

Patricia, Anthony Guy, Queering the Shakespeare Film: Gender Trouble, Gay Spectatorship and Male Homoeroticism (London; New York: Bloomsbury, 2017). [Discusses Reinhardt and Dieterle’s A Midsummer Night’s Dream, the films of Romeo and Juliet directed by Cukor, Zeffirelli, and Luhrmann, Alan Brown’s Private Romeo, Nunn’s Twelfth Night, Hoffman’s A Midsummer Night’s Dream, Radford’s The Merchant of Venice as well as the films of Othello directed by Welles and Parker.]

Pennacchia Punzi, Maddalena, Shakespeare intermediale: I drammi romani (Rome: Editoria & Spettacolo, 2012). [Despite its title, only one section of the book (147–207) deals with the following film adaptations: Mankiewicz’s Julius Caesar and Cleopatra, Titus, and Fiennes’s Coriolanus.]

Pittman, L. Monique, Authorizing Shakespeare on Film and Television: Gender, Class, and Ethnicity in Adaptation (New York: Peter Lang, 2011). [Chapters discuss Branagh’s Hamlet and As You Like It, Radford’s The Merchant of Venice, Scotland, PA, 10 Things I Hate About You and She’s the Man, the Shakespeare Retold series, the Canadian television series Slings and Arrows as well as the Roman plays and HBO’s Rome.]

Pope, Johnathan H., Shakespeare’s Fans: Adapting the Bard in the Age of Media Fandom (Cham: Palgrave Macmillan, 2020). [Chapters discuss 10 Things I Hate About You, online fan fiction, and the appearance of fan-centric actors in Shakespearean films.]

Potter, Lois, Othello (Manchester; New York: Manchester University Press, 2002). [Examines the films directed by Buchowetzki, Welles, Yutkevich, Burge, and Parker as well as the television adaptations directed by Miller, Franklin Melton, Suzman, and Nunn. Also discusses Marcel Carné’s Les enfants du paradis, and A Double Life.]

Quarenghi, Paola, Shakespeare e gli inganni del cinema (Rome: Bulzoni, 2002). [Examines film adaptations of Hamlet (Gade and Schall, Olivier, Kozintsev, Richardson, Zeffirelli, and Branagh) as well as the derivatives directed by Bene and Tom Stoppard, Othello (Welles, Burge, and Che cosa sono le nuvole?), and Macbeth (Welles, Kurosawa, and Polanski).]

Rasmus, Agnieszka, Filming Shakespeare, from Metatheatre to Metacinema (Frankfurt: Peter Lang, 2008). [Apart from providing a historical overview of the subject, discusses Olivier’s and Loncraine’s Richard III, Parker’s Othello, Titus, Coronado’s Hamlet, Brook’s King Lear, Olivier’s and Branagh’s Henry V and Hamlet, In the Bleak Midwinter, Romeo + Juliet, Almereyda’s Hamlet, Rick Moranis and Dave Thomas’s Strange Brew, and Welles’s Macbeth and Othello.]

Reynolds, Bryan, Performing Transversally: Reimagining Shakespeare and the Critical Future (Basingstoke; New York: Palgrave, 2003). [Features chapters on Polanski’s Macbeth, Shakespeare in Love, 10 Things I Hate About You, Almereyda’s Hamlet, and Titus.]

Riambau, Esteve, Las cosas que hemos visto: Welles y Falstaff (Girona; Málaga: Luces de Gálibo and Festival de Málaga Cine Español, 2015). [A detailed examination of the genesis, shooting, and reception of Chimes at Midnight.]

Rokison, Abigail, Shakespeare for Young People: Productions, Versions and Adaptations (London; New York: Bloomsbury, 2013). [Discusses Romeo + Juliet, Almereyda’s Hamlet, The Children’s Midsummer Night’s Dream, The Animated Tales series, teen adaptations of A Midsummer Night’s Dream (Get Over It and Were the World Mine) as well as animated films aimed at a family audience (Darrell Rooney’s The Lion King 2, Phil Nibbelink’s Romeo and Juliet: Sealed with a Kiss, and Gnomeo and Juliet).]

Ronnenberg, Susan Cosby, Deadwood and Shakespeare: The Henriad in the Old West (Jefferson: McFarland, 2019). [Discusses the television series as an adaptation of the plays of the second tetralogy.]

Rosenthal, Daniel, 100 Shakespeare Films (London: British Film Institute, 2007). [A concise survey of the most important film adaptations and derivatives.]

Rothwell, Kenneth S., A History of Shakespeare on Screen: A Century of Film and Television, 2nd revised, expanded edn. (Cambridge: Cambridge University Press, 2004). [Extensively analyses film, television, and videotape adaptations as well as CD-ROMs and Shakespeare on the Internet. Impressive in scope, from the silent period to Branagh’s Hamlet. The second edition adds a chapter discussing recent film and television adaptations as well as derivatives from Shakespeare in Love to non-Anglophone productions such as Don Selwyn’s The Maori Merchant of Venice and Tom Weidlinger’s A Dream in Hanoi.]

Royster, Francesca T., Becoming Cleopatra: The Shifting Image of an Icon (New York; Basingstoke: Palgrave Macmillan, 2003). [Examines the representation of the character in silent film as well as the films directed by DeMille and Mankiewicz. Also discusses the archetype in blaxploitation (Jack Starrett’s Cleopatra Jones) and recent Hollywood films (F. Gary Gray’s Set It Off).]

Ryle, Simon, Shakespeare, Cinema and Desire: Adaptation and Other Futures of Shakespeare’s Language (New York; Basingstoke: Palgrave Macmillan, 2014). [Drawing on the theories of Lacan, Blanchot, Derrida, and Deleuze, focuses on film adaptations of King Lear (Kozintsev, Brook, Kurosawa, Godard, and The King Is Alive), Antony and Cleopatra (DeMille’s Cleopatra, Heston’s Antony and Cleopatra, and Mankiewicz’s film), Hamlet (Gade and Schall, Olivier, Coronado, Branagh, Almereyda, and Rosencrantz and Guildenstern Are Dead), and The Tempest (Jarman and Prospero’s Books).]

Sanders, Julie, Shakespeare and Music: Afterlives and Borrowings (Cambridge; Malden: Polity, 2007). [Discusses musicals such as Kiss Me Kate and West Side Story as well as the symphonic scores composed by Patrick Doyle for Branagh’s films, Dmitri Shostakovich for Kozintsev’s films, and William Walton for Olivier’s Henry V. Also examines the soundtracks of Loncraine’s Richard III, Kurosawa’s films, Polanski’s Macbeth and several teen films (Romeo + Juliet, 10 Things I Hate About You, O, and Get Over It).]

Saran, Sathya, Gulzar’s Angoor: Insights into the Film (Noida: HarperCollins India, 2019). [Discusses the shooting and reception of Gulzar’s film and, despite the title, also includes chapters on Manu Sen’s Bhranti Bilash and Debu Sen’s Do Dooni Char, three Indian adaptations of The Comedy of Errors.]

Schlichting, Klara, Metadrama im Film: Filmische Repräsentationen von Dumb Show und Spiel im Spiel in Hamlet (Hamburg: Verlag Dr. Kovač, 2012). [Analyses representations of the dumbshow in the films directed by Gade and Schall, Olivier, Kozintsev, Richardson, Coronado, Zeffirelli, Branagh, and Almereyda.]

Shaughnessy, Robert, As You Like It (Manchester: Manchester University Press, 2017). [Examines the films directed by Paul Czinner, Edzard, and Branagh as well as the BBC television adaptations directed by Michael Elliott and Basil Coleman.]

Sheppard, Philippa, Devouring Time: Nostalgia in Contemporary Shakespearean Screen Adaptations (Montreal and Kingston: McGill-Queen’s University Press, 2017). [Two chapters focus on the initial scenes and the use of theatrical images in Shakespearean film adaptations. The remaining chapters analyse diverse aspects of Almereyda’s Hamlet, Romeo + Juliet, Branagh’s Hamlet, Henry V and Love’s Labour’s Lost, Titus, Prospero’s Books, cross-dressing in film and television adaptations of As You Like It (Coleman, Edzard, and Branagh) and Twelfth Night (Nunn and Tim Supple for Channel 4), Fiennes’s Coriolanus, the films of Much Ado About Nothing directed by Branagh and Whedon, Hoffman’s A Midsummer Night’s Dream, and Taymor’s The Tempest.]

Socci, Stefano, Shakespeare fra teatro e cinema (Florence: Lettere, 2009). [Provides a work-by-work overview of film adaptations in chronological order of composition of the plays.]

Sunara, Nives, Immer wieder Hamlet: Shakespeares Tragödie im Film – immer wieder anders (Trier: Wissenschaftlicher Verlag Trier, 2004). [Examines Hamlet: The Drama of Vengeance as well as the adaptations directed by Olivier, Kozintsev, Branagh, and Almereyda.]

Thomas, Alfred, Shakespeare, Dissent and the Cold War (Basingstoke; New York: Palgrave Macmillan, 2014). [Devotes two chapters to Kozintsev’s films of Hamlet and King Lear.]

Thompson, Ayanna, Passing Strange: Shakespeare, Race, and Contemporary America (New York; Oxford: Oxford University Press, 2011). [Chapters discuss Scott McGehee and David Siegel’s Suture, Adam Shankman’s Bringing Down the House, and YouTube videos of Othello.]

Toffolo, Stefano, Romeo e Giulietta e altri drammi shakespeariani. Musica, Cinema e Letteratura dalle origini a Franco Zeffirelli a Nino Rota (Padua: Armelin Musica, 2002). [After an overview of music and dance in Shakespeare’s plays, outlines film and musical adaptations of Shakespeare, paying special attention to Zeffirelli’s Romeo and Juliet and Nino Rota’s music for the film.]

Vaughan, Virginia Mason, The Tempest (Manchester; New York: Manchester University Press, 2011). [Discusses Stow’s silent adaptation, the films directed by Jarman, Greenaway, and Taymor as well as the television adaptations directed by Schaefer, Gorrie, and Woodman. Also analyses Forbidden Planet and Tempest.]

Venanzi, Alfredo, Il testo teatrale nel cinema: La trasposizione cinematografica di Amleto (Lanciano: Carabba Editore, 2008). [Focuses on the films directed by Olivier, Kozintsev, Zeffirelli, and Branagh.]

Wald, Christina, Shakespeare’s Serial Returns in Complex TV (Cham: Palgrave Macmillan, 2020). [Examines how Shakespeare’s plays resurface in current television series: The Tempest in Westworld, King Lear in Succession, Hamlet in Black Earth Rising, and Coriolanus in Homeland.]

Watson, Robert N., Throne of Blood, 2nd edn. (London: British Film Institute, 2020). [A detailed analysis of Kurosawa’s film, noting thematic similarities and visual strategies. As a supplement to the book, Watson has exhaustively annotated the film for the ClipNotes app (www.clipnotes.org/), which hosts his annotation file, authored in collaboration with Nicole Malek. The XML file is free to download and, used with the app and a DVD, instantly launches any of over a hundred sequences from the film with explanatory text underneath.]

White, R. S., Shakespeare’s Cinema of Crime: Macbeth, Hamlet and Film Genres Including Maqbool, Omkara and Eklavya (Kurukshetra: The Shakespeare Association, 2012). [Discusses Shakespeare Wallah, Maqbool, Omkara, and Vidhu Vinod Chopra’s Eklavya: The Royal Guard.]

White, R. S., Shakespeare’s Cinema of Love: A Study in Genre and Influence (Manchester: Manchester University Press, 2016). [Argues that Shakespeare’s plays significantly influenced movie genres, particularly in films concerning love in the classic Hollywood period as well as in hybrid genres in Bollywood cinema. Mainly discusses film adaptations and derivatives of The Taming of the Shrew (Taylor, Zeffirelli, and Kiss Me Kate), The Comedy of Errors (A. Edward Sutherland’s The Boys from Syracuse as well as Angoor), and Romeo and Juliet (Cukor, Castellani, Zeffirelli, Luhrmann, West Side Story, Joseph Bologna and Renée Taylor’s Love Is All There Is, Jirí Weiss’s Romeo, Juliet and Darkness, Mansoor Khan’s Qayamat Se Qayamat Tak, Tamil K. Balachander’s Ek Duuje Ke Liye, Sanjay Leela Bhansali’s Goliyon Ki Raasleela Ram-Leela, Paul Morrison’s Solomon and Gaenor, and Chicken Rice War).]

Worthen, William B., Shakespeare and the Force of Modern Performance (Cambridge: Cambridge University Press, 2003). [Examines both stage productions and film adaptations. Pays special attention to Almereyda’s Hamlet, Love’s Labour’s Lost, and Romeo + Juliet.]

Worthen, William B., Shakespeare, Technicity, Theatre (Cambridge: Cambridge University Press, 2020). [Explores how several elements of contemporary performance emphasise the technicity of modern theatre. Among others, chapters discuss the use of live-feed video in performance (Ostermeier’s Hamlet, The Wooster Group Hamlet, and Van Hove’s Roman Tragedies), the function of devices and the use of mobile applications for managing both texts and performance practices, immersive theatre as a genre (Punchdrunk’s Sleep No More), and A Piece of Work as an algorithmic performance.]

Wu Hui [Shakespeare in the Movies: Filmic Adaptations of Literary Masterpieces] (Beijing: Communication University of China Press, 2007). [A history of Shakespearean filmmaking written in Chinese mostly focusing on the films directed by Olivier, Welles, Kozintsev, Zeffirelli, Polanski, Luhrmann, Kurosawa, and Branagh. Also includes a chapter written in English comparing The Banquet and Prince of the Himalayas.]

Wyver, John, Screening the Royal Shakespeare Company: A Critical History (London; New York: Bloomsbury, 2019). [Focuses on the history of the Royal Shakespeare Company’s film and television adaptations of the plays by Shakespeare and other playwrights from the silents to the live broadcasts in the 2010s. Among other titles, discusses Benson’s Richard III, Elliott’s As You Like It, Clifford Williams’s The Comedy of Errors, Hall and Barton’s The Wars of the Roses, Barton’s All’s Well That Ends Well, Hall’s A Midsummer Night’s Dream, Brook’s King Lear, Nunn’s Antony and Cleopatra, The Comedy of Errors, and Macbeth, Noble’s A Midsummer Night’s Dream, and Doran’s The Winter’s Tale, Macbeth, Hamlet, and Julius Caesar.]

Zabus, Chantal, Tempests after Shakespeare (New York; Basingstoke: Palgrave, 2002). [Focuses on post-1960 rewritings of The Tempest, including sections on Forbidden Planet, Tempest, Prospero’s Books, and Jarman’s film.]

Aebischer, Pascale, Edward J. Esche, and Nigel Wheale (eds), Remaking Shakespeare: Performance across Media, Genres and Cultures (Basingstoke; New York: Palgrave, 2003). [Features essays on Ajoy Kar’s Saptapadi, recent television adaptations of Macbeth (Macbeth on the Estate and Doran’s Macbeth), Mankiewicz’s Julius Caesar, Love’s Labour’s Lost, West Side Story, Zeffirelli’s Romeo and Juliet as well as Almereyda’s Hamlet.]

Aebischer, Pascale, Susanne Greenhalgh, and Laurie E. Osborne (eds), Shakespeare and the ‘Live’ Theatre Broadcast Experience (London; New York: Bloomsbury, 2018). [Essays discuss the emergent hybridity of medium and genre in the British media since the sixties, the marketisation of Shakespeare in live broadcasts, the role of social media, modes of audience participation, actors and the live broadcast experience, the impact of the recording process on the theatre audience, broadcasting from Shakespeare’s Globe and the National Theatre, The Stratford Festival of Canada’s HD productions, the Talawa Theatre Company’s King Lear and the Black Theatre Live’s Hamlet, the two versions of Declan Donnellan’s production of Measure for Measure, public screenings and fan culture in Japan, the NTLive’s Shakespeare broadcasts in Hong Kong, the reception of the NTLive broadcast of Turner’s Hamlet in Bolonia, live broadcasts and students’ response, and the NTLive broadcast of Éric Ruf’s Roméo et Juliette.]

Anile, Alberto (ed.), L’Otello senz’acca: Orson Welles nel Fondo Oberdan Troiani / Otello without the H: Orson Welles in the Oberdan Troiani Collection (Soveria Mannelli: Rubbettino Editore, 2015). [Includes the texts, both in Italian and English, of an essay, an interview, and a chronology on the shooting of Welles’s Othello as well as his own filming notes. Focuses on the Italian version of the film, which is longer than the other existing versions. Also includes a wide number of stills and photographs taken on set, most of which have never been published before.]

Barclay, Bill, and David Lindley (eds), Shakespeare, Music and Performance (Cambridge: Cambridge University Press, 2017). [Includes essays on Shostakovich and Walton, music in the 21st-century films (Almereyda’s Hamlet, Radford’s The Merchant of Venice, Taymor’s The Tempest, Titus, and Fiennes’s Coriolanus) as well as an interview with composer Stephen Warbeck.]

Bigliazzi, Silvia, and Lisanna Calvi (eds), Revisiting The Tempest: The Capacity to Signify (Basingstoke; New York: Palgrave Macmillan, 2014). [Essays discuss Stow’s silent adaptation, the films directed by Jarman, Greenaway, and Taymor as well as the television productions directed by Schaefer and Gorrie.]

Bladen, Victoria, Sarah Hatchuel, and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: King Lear (Cambridge: Cambridge University Press, 2019). [Essays examine diverse aspects of the films directed by Kozintsev, Brook, and Kurosawa, the television adaptations directed by Tony Davenall, Miller, Elliott, and Eyre as well as Brian Blessed’s King Lear, live broadcasts of King Lear, Slings and Arrows, Uli Edel’s King of Texas, David Lean’s Hobson’s Choice, Life Goes On, Harry and Tonto, Harry Thomashefsky’s The Yiddish King Lear, The King Is Alive, My Kingdom, Fred Schepisi’s The Eye of the Storm, appropriations of King Lear in the television series Boss and Empire as well as a select film-bibliography on the subject. The ‘Resources’ section (www.cambridge.org/es/academic/subjects/literature/renaissance-and-early-modern-literature/shakespeare-screen-king-lear?format=HB&isbn=9781108426923) adds essays on Eyre’s BBC King Lear, the play on the small screen (television, Internet, YouTube, and digital archives), Harry Cleven’s Les héritières as well as a comprehensive version of the film-bibliography.]

Bladen, Victoria, and Yan Brailowsky (eds), Shakespeare and the Supernatural (Manchester: Manchester University Press, 2020). [Discusses Taymor’s The Tempest, film and television adaptations of A Midsummer Night’s Dream (Blackton, Reinhardt and Dieterle, Hall, Moshinsky, Noble, Hoffman, Fraiman, Taymor, and David Kerr as well as Were the World Mine), and Ophelia’s afterlives in Japanese pop culture (including Fumitoshi Oizaki’s Romeo x Juliet).]

Blumenfeld, Odette, and Veronica Popescu (eds), Shakespeare in Europe: Nation(s) and Boundaries (Iaşi: Editura Universităţii ‘Alexandru Ioan Cuza’, 2011). [Examines Polish television adaptations of Shakespeare broadcast from 1999 to 2007, West Side Story, Romeo + Juliet, the films of A Midsummer Night’s Dream directed by Noble and Hoffman, Jarman’s The Tempest, Prospero’s Books, and Tempest.]

Bono, Paola (ed.), Schermi elisabettiani: Cinema e teatro inglese tra prima età moderna e contemporaneità (Rome: Aracne Editrice, 2003). [Includes essays on Titus and Jarman’s The Tempest.]

Bono, Paola (ed.), Amleto e Macbeth: Sfumature di noir (Spoleto: Editoria & Spettacolo, 2012). [Features essays on the films of Hamlet directed by Olivier and Almereyda as well as Welles’s and Wright’s films of Macbeth. Also analyses derivatives such as Strange Illusion, Joe Macbeth, The Bad Sleep Well, Hamlet Goes Business, Men of Respect, and Maqbool.]

Brown, Eric C., and Estelle Rivier (eds), Shakespeare in Performance (Newcastle: Cambridge Scholars Publishing, 2013). [Essays discuss Yellow Sky, Branagh’s As You Like It, Les enfants du paradis, and the television adaptation of Giorgio Strehler’s La tempesta.]

Brown, Sarah Annes, Robert I. Lublin, and Lynsey McCulloch (eds), Reinventing the Renaissance: Shakespeare and His Contemporaries in Adaptation and Performance (Basingstoke; New York: Palgrave Macmillan, 2013). [Includes essays on She’s the Man, adaptations and derivatives of The Taming of the Shrew (Kiss Me Kate, Zeffirelli’s film, 10 Things I Hate About You, and Richards’s The Taming of the Shrew), the diverse strategies of adapting the plays to the screen, Supple’s Twelfth Night as well as costuming choices in Mankiewicz’s Julius Caesar, Romeo + Juliet, and Branagh’s Hamlet.]

Brusberg-Kiermeier, Stefani, and Jörg Helbig (eds), Sh@kespeare in the Media: From the Globe Theatre to the World Wide Web, revised edn. (Frankfurt: Peter Lang, 2010). [Features essays on Shakespeare on silent film, cinematic intertextuality, and screen music in Nunn’s Twelfth Night and Hoffman’s A Midsummer Night’s Dream, Shakespeare on television (Sax’s Othello and King of Texas), as well as interviews with Russell Jackson and Derek Jacobi.]

Buchanan, Judith (ed.), The Writer on Film: Screening Literary Authorship (Basingstoke; New York: Palgrave Macmillan, 2013). [Includes essays on cinematic representations of Shakespeare (Thomas Bentley’s Old Bill Through the Ages, Time Flies, and Shakespeare in Love), Prospero’s Books, and Taymor’s Tempest.]

Bulman, James C. (ed.), The Oxford Handbook of Shakespeare and Performance (Oxford: Oxford University Press, 2017). [This collection includes a section on media and technology, which examines, among others, Van Hove’s Roman Tragedies, liveness in 21st-century performances, technology, and the ethics of spectatorship, Shakespearean technicity, performance in digital editions, Welles’s Othello, Hamlet: The Drama of Vengeance, Taymor’s The Tempest, and Liz White’s Othello. Other essays discuss the television Shakespeare in Mzansi series (Pieter Grobbelaar’s Death of a Queen, Norman Maake’s Entabeni, and Tim Greene’s Izingane zoBaba) and the Asian Shakespeare Intercultural Archive.]

Burnett, Mark Thornton, and Adrian Streete (eds), Filming and Performing Renaissance History (Basingstoke; New York: Palgrave Macmillan, 2011). [Features essays on Miguel y William and Shakespeare in Love.]

Burnett, Mark Thornton, Adrian Streete, and Ramona Wray (eds), The Edinburgh Companion to Shakespeare and the Arts (Edinburgh: Edinburgh University Press, 2011). [Part 6 of this monumental collection focuses on ‘Shakespeare, Media and Culture’ and includes essays on Shakespeare and silent film, Shakespeare on film, 1930–1990, Shakespeare on film, 1990–2010, Shakespeare on television as well as Shakespeare on the Internet and in digital media.]

Burnett, Mark Thornton, and Ramona Wray (eds), Screening Shakespeare into the Twenty-First Century (Edinburgh: Edinburgh University Press, 2006). [A collection of essays focusing on the most recent adaptations and appropriations of the Bard on screen. Examines television documentaries, film, and television adaptations of Hamlet (Scott, Almereyda, and Cavanagh), Eyre’s Stage Beauty, My Kingdom, Radford’s The Merchant of Venice, The Maori Merchant of Venice, Peter Babakitis’s Henry V, recent spinoffs (The Street King, Allison L. LiCalsi’s Macbeth: The Comedy, Rave Macbeth, Gil Cates Jr’s A Midsummer Night’s Rave, Deliver Us from Eva, O, Scotland, PA, Maqbool, King of Texas, and The King Is Alive), the Shakespeare Retold series as well as cinema advertisements and citations.]

Burt, Richard (ed.), Shakespeare after Mass Media (Basingstoke; New York: Palgrave, 2002). [Includes essays on Romeo + Juliet, Branagh’s films, Titus, and Star Trek and Shakespeare.]

Burt, Richard, and Lynda E. Boose (eds), Shakespeare, the Movie, II: Popularizing the Plays on Film, TV, Video, and DVD (London; New York: Routledge, 2003). [Reprints and/or updates some of the essays from Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video and features new articles on the recent films. Discusses Almereyda’s Hamlet, Shakespeare in Love, Romeo + Juliet, Love’s Labour’s Lost, Nunn’s Twelfth Night, film adaptations and derivatives of Othello (Parker’s Othello, Sax’s Othello, and O), A Midsummer Night’s Dream (Hoffman, Noble, and Edzard), Macbeth (Bogdanov’s Macbeth, Stuart Canterbury’s In the Flesh, Macbeth: The Comedy, and Scotland, PA), and The Taming of the Shrew (Sam Taylor, Paul Nickell, Zeffirelli, and 10 Things I Hate About You), Prospero’s Books, The Animated Tales series, Loncraine’s Richard III, Looking for Richard, and The Street King, My Own Private Idaho, Branagh’s Henry V, Dogme Shakespeare (The King Is Alive and The Celebration) as well as Bollywood and Hollywood citations of the plays.]

Caponi, Paolo, and Mariacristina Cavecchi (eds), Shakespeare & Scespir (Milan: CUEM, 2005). [Focusing on the reception of Shakespeare in Italy, examines the silent films, parodies, and citations in Italian cinema, aspects of dubbing films into Italian, the representation of Italy in Hollywood films, and an illustrated version of Macbeth based on Polanski’s film.]

Carson, Christie, and Peter Kirwan (eds), Shakespeare in the Digital World: Redefining Scholarship and Practice (Cambridge: Cambridge University Press, 2014). [Essays discuss Shakespeare in the digital humanities, pedagogical practices in the classroom and online, digital databases, blogs as scholarly tools, Anonymous, open access publications and projects, digital editions, Shakespeare on Facebook and Twitter, digital marketing strategies and streaming performances on the web, live broadcasts of stage productions, Doran’s Hamlet, and Hytner’s Hamlet.]

Cartmell, Deborah (ed.), A Companion to Literature, Film, and Adaptation (Malden; Oxford: Wiley-Blackwell, 2012). [Essays examine Taylor’s The Taming of the Shrew, film derivatives of Othello (August Blom’s Desdemona, Harley Knoles’s Carnival, Herbert Wilcox’s Venetian Nights, Men Are Not Gods, and A Double Life), Hamlet 2 and Branagh’s Hamlet, the reception of Shakespeare and Austen film adaptations as well as costuming in Zeffirelli’s Romeo and Juliet and Romeo + Juliet.]

Cavecchi, Mariacristina, and Sara Soncini (eds), Shakespeare Graffiti: Il Cigno di Avon nella cultura di massa (Milan: CUEM, 2002). [A collection of essays on Shakespeare in popular culture. Includes five essays on the derivatives and pornographic adaptations of the plays as well as citations in mainstream cinema.]

Croteau, Melissa, and Carolyn Jess-Cooke (eds), Apocalyptic Shakespeare: Essays on Visions of Chaos and Revelation in Recent Film Adaptations (Jefferson; London: McFarland, 2009). [Essays discuss Miroslaw Rogala’s Macbeth: The Witches’ Scenes, Jarman’s The Angelic Conversation, Bogdanov’s Macbeth, Kevin Costner’s The Postman, Noble’s A Midsummer Night’s Dream, Titus, Zeffirelli’s and Luhrmann’s films of Romeo and Juliet, Almereyda’s Hamlet, Shakespeare in Love, Nunn’s Twelfth Night, She’s the Man, Radford’s The Merchant of Venice, Disney’s The Lion King and Education for Death, Godard’s King Lear, The Children’s Midsummer Night’s Dream, and The King Is Alive.]

Desmet, Christy, Natalie Loper, and Jim Casey (eds), Shakespeare / Not Shakespeare (Cham: Palgrave Macmillan, 2017). [Among others, analyses Norry Niven’s From Above, Where Is My Romeo?, Romeo x Juliet, the proliferation of the Shakespeare meme in American television series (Lost, Six Feet Under, Sons of Anarchy, Gossip Girl, and Arrested Development), the depiction of Romeo-like characters in recent television series (Law & Order, Bones, The Cleaner, Supernatural, Necessary Roughness, and White Collar), Sleep No More and its digital communities, Shakespeare on YouTube and Twitter, Luhrmann’s The Great Gatsby, Jeffrey Hornaday’s Teen Beach Movie, Guillermo del Toro’s Pan’s Labyrinth, and Warm Bodies.]

Desmet, Christy, Sujata Iyengar, and Miriam Jacobson (eds), The Routledge Handbook of Shakespeare and Global Appropriation (New York; London: Routledge, 2020). [Essays discuss Terésa Dowell-Vest’s Color Blind (a Romeo and Juliet story), Supple’s Twelfth Night, Shakespeare on Twitter, Minky Schlesinger’s uGugu no Andile, global Shakespeare communities, accidental echoes in Rowdy Herrington’s Road House and Wolfgang Petersen’s Air Force One, Romeo x Juliet, the NPR podcast Serial, the television series The Wire, Haider, and Van Hove’s Roman Tragedies.]

Dionne, Craig, and Parmita Kapadia (eds), Bollywood Shakespeares (New York; Basingstoke: Palgrave Macmillan, 2014). [The first collection on Bollywood adaptations, features essays on Shakespeare Wallah, Maqbool, and Omkara, Rituparno Ghosh’s The Last Lear, Supple’s Twelfth Night, and adaptations of The Comedy of Errors (Bhranti Bilash, Do Dooni Char, and Angoor).]

Driver, Martha W., and Sid Ray (eds), Shakespeare and the Middle Ages: Essays on the Performance and Adaptation of the Plays with Medieval Sources or Settings (Jefferson; London: McFarland, 2009). [Includes essays on film adaptations of Richard III (Olivier, Loncraine, and Scott M. Anderson), Henry V (Olivier and Branagh), Romeo and Juliet (Zeffirelli and Luhrmann), Macbeth (Welles, Polanski, and Wright), and A Midsummer Night’s Dream (Reinhardt and Dieterle, Hall, Noble, and Hoffman). Also discusses other adaptations and derivatives such as Looking for Richard, Chimes at Midnight, Shakespeare in Love, Zeffirelli’s Hamlet, Chris Terrio’s Heights, and Miller’s Troilus and Cressida.]

Dupuis, Margaret, and Grace Tiffany (eds), Approaches to Teaching Shakespeare’s The Taming of the Shrew (New York: MLA, 2013). [In addition to a section entitled ‘Shrew on Film’ (16–17), this collection includes three essays on films (Taylor and Zeffirelli), television productions (Miller’s BBC adaptation), and filmed stage performances (William Ball and Kirk Browning’s American Conservatory Theater of San Francisco as well as Richard Monette’s Canadian Broadcasting Company productions).]

Dutton, Richard, and Jean E. Howard (eds), A Companion to Shakespeare’s Works, 4 vols (Malden; Oxford: Blackwell, 2003). [This monumental collection of essays includes essays on Olivier’s Hamlet, Brook’s King Lear, Polanski’s Macbeth, Zeffirelli’s Romeo and Juliet, Parker’s Othello, Romeo + Juliet, Branagh’s Hamlet, Titus, and Almereyda’s Hamlet in vol. 1; Loncraine’s Richard III, Looking for Richard, and Branagh’s Henry V in vol. 2, and the films of A Midsummer Night’s Dream directed by Noble and Hoffman, Nunn’s Twelfth Night and The Merchant of Venice, Love’s Labour’s Lost, and 10 Things I Hate About You in vol. 3.]

Ellinghausen, Laurie (ed.), Approaches to Teaching Shakespeare’s English History Plays (New York: MLA, 2017). [In addition to two subsections entitled ‘Performance’ (16–18) and ‘Digital Resources’ (19–20), includes essays on teaching Richard II using online resources, PBS’s Shakespeare Uncovered, The Hollow Crown, Chimes at Midnight, My Own Private Idaho, Richard in the graphic archives, Falstaff and digital tools, and teaching Shakespeare’s Histories using the Internet.]

Erickson, Peter, and Maurice Hunt (eds), Approaches to Teaching Shakespeare’s Othello (New York: MLA, 2005). [Features two essays on teaching films, television adaptations, and derivatives (Buchowetzki, Welles, Burge, Parker, Nunn, and O) in the classroom. Also includes a subsection on ‘Visual Materials and Other Artistic Media’ (18–21).]

Fazel, Valerie M., and Louise Geddes (eds), The Shakespeare User: Critical and Creative Appropriations in a Networked Culture (Cham: Palgrave Macmillan, 2017). [The volume examines, among others, Hamlet video games, video adaptations on YouTube, the incorporation of digital media by theatre companies, Shakespeare fandom, Shakespeare on social media platforms, and the Open Source Shakespeare website.]

Fischlin, Daniel (ed.), OuterSpeares: Shakespeare, Intermedia, and the Limits of Adaptation (Toronto: University of Toronto Press, 2014). [Essays discuss YouTube videos, Mobile Shakespeare, Taymor’s The Tempest, Mickey B, and Slings and Arrows.]

Fotheringham, Richard, Christa Jansohn, and R. S. White (eds), Shakespeare’s World/World Shakespeares: The Selected Proceedings of the International Shakespeare Association World Congress, Brisbane, 2006 (Newark: University of Delaware Press, 2008). [Includes a section entitled ‘Cinema: A New Shakespeare’ featuring essays on film adaptations of Hamlet (Plumb, Rodolfi, Gade and Schall, Olivier, Kozintsev, Branagh, and Almereyda), Radford’s The Merchant of Venice, Ran, and Hamlet Goes Business.]

Gerzic, Marina, and Aidan Norrie (eds), From Medievalism to Early-Modernism: Adapting the English Past (New York: Routledge, 2019). [Includes essays on Titus and The Hollow Crown.]

Gerzic, Marina, and Aidan Norrie (eds), Playfulness in Shakespearean Adaptations (New York; London: Routledge, 2020). [Essays analyse the web series Shakespeare Republic, Bill, Shakespeare in Love, the BBC series Upstart Crow, Hamlet 2, She’s the Man, O, and Gnomeo and Juliet.]

Graham, Kenneth, and Alysia Kolentsis (eds), Shakespeare On Stage and Off (Montreal and Kingston: McGill-Queen’s University Press, 2019). [Features essays on editing and cinematography in the NTLive’s Hamlet and the Branagh Theatre Company’s The Winter’s Tale, two live broadcasts of The Merchant of Venice (Polly Findlay’s for the Royal Shakespeare Company and Jonathan Munby’s for the Globe on Screen), Fiennes’s Coriolanus, the Bhardwaj trilogy (Maqbool, Omkara, and Haider), Upstart Crow and the TNT series Will, Shakespearean resonances in Star Trek, and Sleep No More.]

Guneratne, Anthony R. (ed.), Shakespeare and Genre: From Early Modern Inheritances to Postmodern Legacies (New York; Basingstoke: Palgrave Macmillan, 2011). [Features essays on Taymor’s The Tempest, Branagh’s films, televised Shakespeare, Olivier’s Henry V, Godard’s King Lear, Prospero’s Books, Almereyda’s Hamlet, John McTiernan’s Last Action Hero as well as uses of Shakespeare on film in the classroom.]

Hansen, Adam, and Kevin J. Wetmore, Jr. (eds), Shakespearean Echoes (Basingstoke; New York: Palgrave Macmillan, 2015). [Essays discuss film derivatives of Romeo and Juliet (Tomas Alfredson’s Let the Right One In, Let Me In, Sud Side Stori, and an Argentinian telenovela) and The Tempest (Lost and Tron: Legacy), My Own Private Idaho as well as Game of Thrones.]

Hart, Jonathan Locke (ed.), Shakespeare and Asia (New York; London: Routledge, 2019). [Essays discuss The Banquet and Prince of the Himalayas, Kozintsev’s King Lear, Ran, Ahmad Jamal’s Rahm, Haider, Shakespeare Wallah, Omkara, and Ram-Leela.]

Hartley, Andrew James, and Peter Holland (eds), Shakespeare and Geek Culture (London; New York: Bloomsbury, 2020). [Essays discuss Josie Rourke’s Coriolanus, Shakespeare and video or board games, Scotland, PA, Romeo + Juliet, Warm Bodies, Almereyda’s Hamlet and Cymbeline, 10 Things I Hate About You, and Whedon’s Much Ado About Nothing.]

Hatchuel, Sarah, and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: A Midsummer Night’s Dream (Rouen: Publications de l’Université de Rouen, 2004). [Includes several essays on the film and television adaptations of the play (Reinhardt and Dieterle, Joan Kemp-Welch, Hall, Moshinsky, Noble, Hoffman, and Edzard) as well as an annotated film-bibliography.]

Hatchuel, Sarah, and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: Richard III (Rouen: Publications de l’Université de Rouen, 2005). [Essays mainly examine diverse aspects of the silent films directed by Benson and Keane, the films directed by Olivier and Loncraine, Howell’s and Bogdanov’s televised adaptations, as well as Looking for Richard. One essay focuses on references to the play on film and television, whereas another discusses several parodies and derivatives (The Goodbye Girl, the first episode of the Black Adder TV series, Tom Stern and Alex Winter’s Freaked, and The Street King). As usual in the series, the volume features a comprehensive film-bibliography on the subject.]

Hatchuel, Sarah, and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: The Henriad (Mont-Saint-Aignan: Publications des Universités de Rouen et du Havre, 2008). [Essays focus on diverse aspects of Chimes at Midnight, the films of Henry V directed by Olivier, Branagh, and Babakitis, as well as John Farrell’s Richard II. Television versions include the adaptations of Richard II directed by Schaefer, Giles, Woodman, Bogdanov, Warner, and Tim Carroll as well as the adaptations of Henry IV directed by Giles and Caird. My Own Private Idaho and references to the second tetralogy on film and television are also examined, and the collection includes a comprehensive film-bibliography on the subject.]

Hatchuel, Sarah, and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: Television Shakespeare. Essays in Honour of Michèle Willems (Mont-Saint-Aignan: Publications des Universités de Rouen et du Havre, 2008). [Includes essays on television adaptations of Romeo and Juliet, Elliott’s King Lear, Richard II on television (Schaefer, Giles, Woodman, Bogdanov, Carroll, and Warner), Moshinsky’s All’s Well That Ends Well and Coriolanus, Supple’s Twelfth Night, the comedies on French television (Claude Loursais’s La nuit des rois, Claude Barma’s La nuit des rois, Pierre Badel’s Beaucoup de bruit pour rien and La mégère apprivoisée, Roger Iglésis’s Les joyeuses commères de Windsor, and Agnès Delarive’s Comme il vous plaira), the Shakespeare Retold series, HBO’s Rome as well as an annotated reference guide to Shakespeare on television.]

Hatchuel, Sarah, and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: The Roman Plays (Mont-Saint-Aignan: Publications des Universités de Rouen et du Havre, 2009). [Features several essays on diverse aspects of films (Titus, Mankiewicz’s Julius Caesar and Cleopatra, Bradley’s Julius Caesar, Burge’s Julius Caesar, and DeMille’s Cleopatra) as well as television adaptations (Worthington Miner’s Julius Caesar and Coriolanus, Nickell’s Julius Caesar, Wise’s Julius Caesar, and Moshinsky’s Coriolanus). Derivatives include Franc Roddam’s Cleopatra, Edel’s Julius Caesar, and HBO’s Rome. An essay discusses references to the Roman plays in films and another includes an extensive film-bibliography on the subject.]

Hatchuel, Sarah, and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: Hamlet (Mont-Saint-Aignan: Publications des Universités de Rouen et du Havre, 2011). [Essays cover diverse aspects of the films directed by Gade and Schall, Olivier, Kozintsev, Richardson, Zeffirelli, Branagh, Andrew Bellware, Almereyda, Cavanagh, and Fodor as well as the television productions directed by Schaefer, Peter Wood, Scott, and Doran. A good number of derivatives are also analysed (The Bad Sleep Well, Ophélia, Robert Bresson’s Une femme douce, Josée Dayan’s L’embrumé, Hamlet Goes Business, André Téchiné’s J’embrasse pas, Stacy Title’s Let the Devil Wear Black, The Banquet, Prince of the Himalayas, Hamlet 2, and Sons of Anarchy) as well as the documentary Rehearsing Hamlet and citations of the play in other films. As usual in this series, the volume also includes an extensive film-bibliography on the subject.]

Hatchuel, Sarah, and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: Othello (Cambridge: Cambridge University Press, 2015). [Essays discuss diverse aspects of the films directed by Welles, Yutkevich, Burge, and Parker and the television adaptations directed by Miller and Suzman. Several derivatives are also analysed: Welles’s Filming Othello, Sax’s Othello, O, Omkara, Paulo Afonso Grisolli’s Otelo de Oliveira, Huapango, André Forcier’s Une histoire inventée, Camillo Mastrocinque’s Anna’s Sin, A Double Life, and Stage Beauty. One essay examines issues of dubbing and subtitling, and the volume also includes a select film-bibliography on the subject. The ‘Resources’ section (www.cambridge.org/es/academic/subjects/literature/renaissance-and-early-modern-literature/shakespeare-screen-othello?format=HB&isbn=9781107109735) adds a comprehensive version of the film-bibliography as well as an essay on Othello on YouTube.]

Hatchuel, Sarah, and Nathalie Vienne-Guerrin (eds), Shakespeare on Screen: The Tempest and Late Romances (Cambridge: Cambridge University Press, 2017). [Essays analyse Frederick Sullivan’s silent Cymbeline, David Jones’s Pericles, Royston Morley’s and Elliott’s Scenes from Cymbeline, Moshinsky’s Cymbeline, Zofia Mrozowska’s and Howell’s The Winter’s Tale, Wheeldon’s The Winter’s Tale, Sokolov’s versions of The Tempest and The Winter’s Tale for The Animated Tales series, Jarman’s The Tempest, Prospero’s Books, Taymor’s The Tempest, Almereyda’s Cymbeline, film and television derivatives of The Tempest (Yellow Sky, Forbidden Planet, Age of Consent, Tempest, and Bender’s The Tempest), Raymond Radiguet’s Le bal du Comte d’Orgel as well as a select film-bibliography on the subject. The ‘Resources’ section (www.cambridge.org/es/academic/subjects/literature/renaissance-and-early-modern-literature/shakespeare-screen-i-tempesti-and-late-romances?format=HB) adds a comprehensive version of the film-bibliography as well as essays on the television series Lost and the Romances on YouTube.]

Hatchuel, Sarah, Nathalie Vienne-Guerrin, and Victoria Bladen (eds), Shakespeare on Screen: Macbeth (Mont-Saint-Aignan: Publications des Universités de Rouen et du Havre, 2013). [Essays focus on diverse aspects of the films directed by Welles, Katherine Stenholm, Kurosawa, Polanski, Freeston, Wright, and Brandon Arnold as well as the television productions directed by Barma, Nunn, Gold, Doran, and Goold. The following derivatives are also analysed: André Barsacq’s Le rideau rouge, Richard Quine’s ‘Dagger of the Mind’ episode of the TV series Columbo, Men of Respect, Macbeth on the Estate, Nina Menkes’s The Bloody Child: An Interior of Violence, Makibefo, Macbeth: The Comedy, Scotland, PA, Maqbool, Mark Brozel’s Macbeth for the Shakespeare Retold series, Netty van Hoorn’s Growing Up with Macbeth, Entabeni as well as Olivier’s unmade film of Macbeth. As usual in the series, the volume also includes an extensive film-bibliography on the subject.]

Henderson, Diana E. (ed.), A Concise Companion to Shakespeare on Screen (Malden; Oxford: Blackwell, 2006). [A collection organised around topics such as authorship and collaboration, sex and violence, globalisation, cross-cultural interpretation, popular culture, and many others. Features essays on King John, Reinhardt and Dieterle’s A Midsummer Night’s Dream, Olivier’s and Branagh’s Henry V, Welles’s Othello, adaptations of Hamlet (Olivier, Richardson, Branagh, Almereyda, Scott, and Cavanagh), Titus, adaptations of Macbeth (Freeston, Bogdanov, and Doran), Throne of Blood and Ran, Scotland, PA, Lloyd Kaufman’s Tromeo and Juliet, and TV documentaries on Shakespeare.]

Hodgdon, Barbara, and W. B. Worthen (eds), A Companion to Shakespeare in Performance (Malden; Oxford: Blackwell, 2005). [Essays discuss Nunn’s Twelfth Night, the published screenplays of the recent films, Zeffirelli’s and Luhrmann’s films of Romeo and Juliet, Shakespeare in Love, Macbeth on the Estate, Shakespeare and Nazi citations in Hollywood films, Titus, Julia Stiles and her Shakespearean film roles, Edzard’s As You Like It, and A Thousand Acres.]

Huang, Alexa, and Charles S. Ross (eds), Shakespeare in Hollywood, Asia, and Cyberspace (West Lafayette: Purdue University Press, 2009). [A revised, expanded version of the journal issue edited by Charles S. Ross. Includes essays on Zeffirelli’s The Taming of the Shrew and Hamlet, Looking for Richard, Branagh’s and Almereyda’s Hamlet, Romeo + Juliet, Titus, Throne of Blood, Anthony Chan’s One Husband Too Many, Forbidden Planet, Jacques Rivette’s Paris Belongs to Us, A Dream in Hanoi, and Mamoru Hosi’s Warai no daigaku.]

Hudelet, Ariane, and Shannon Wells-Lassagne (eds), De la page blanche aux salles obscures: Adaptation et réadaptation dans le monde anglophone (Rennes: Presses Universitaires de Rennes, 2011). [Includes essays on Shakespeare in Love, Mankiewicz’s Julius Caesar and Cleopatra, and Prospero’s Books.]

Jackson, Russell (ed.), The Cambridge Companion to Shakespeare on Film, 2nd edn. (Cambridge: Cambridge University Press, 2007). [Discusses the context of Shakespearean adaptation as well as the films of Richard III (Keane, Olivier, Loncraine, and Looking for Richard), Hamlet (Gade and Schall, Olivier, Kozintsev, Zeffirelli, and Branagh), Macbeth (Welles, Kurosawa, and Polanski), King Lear (Kozintsev, Brook, and Kurosawa), Romeo and Juliet (Cukor, Castellani, Zeffirelli, and Luhrmann), Othello (Welles, Yutkevich, Burge, and Parker), Heston’s Antony and Cleopatra, and the comedies on film. Also analyses the films directed by Olivier, Welles, Kozintsev, Zeffirelli, and Branagh, the representation of women, national and racial stereotypes, as well as the supernatural in Shakespeare adaptations and derivatives. A few chapters in the second edition have been expanded to include sections on Almereyda’s Hamlet, Titus, and O.]

Jackson, Russell (ed.), The Cambridge Companion to Shakespeare on Screen (Cambridge: Cambridge University Press, 2020). [Essays analyse diverse aspects of the silent films, the marketing of Shakespeare in classical Hollywood, live broadcasts of stage productions, Shakespeare and global cinema, the comedies on screen, the spaces of tragedy in adaptations and derivatives of Hamlet, King Lear, and Macbeth, the landscape of adaptations and derivatives of Romeo and Juliet and Othello, The Hollow Crown, Fiennes’s Coriolanus, Titus, fantasy and romance in adaptations of A Midsummer Night’s Dream (Reinhardt and Dieterle, Hall, Noble, and Hoffman) and The Tempest (Jarman and Taymor), racism in The Merchant of Venice (Miller, Nunn, and Radford) and Othello (Welles, Burge, Nunn, Parker as well as O and Sax’s Othello), feminism and sexuality in the films of King Lear (Kozintsev, Brook, and Kurosawa), violence in adaptations of Coriolanus (Claudio Fino for RAI Television, Moshinsky, Christian Schiaretti for the Théâtre national populaire, Fiennes, and Angus Jackson for the Royal Shakespeare Company) and The Taming of the Shrew (Taylor, Zeffirelli, Miller, and Toby Frow for Shakespeare’s Globe), and the Shakespearean films directed by Welles, Kurosawa, Zeffirelli, Branagh, and Bhardwaj.]

Keller, James R., and Leslie Stratyner (eds), Almost Shakespeare: Reinventing His Works for Cinema and Television (Jefferson; London: McFarland, 2004). [The first collection of essays exclusively focusing on the derivatives. Features essays on Shakespeare in teen films (O, 10 Things I Hate About You, Get Over It, and Romeo + Juliet) and TV series such as The West Wing and CSI, My Own Private Idaho, Shakespeare Wallah, Suture, Withnail and I, film derivatives of Othello, Prospero’s Books as well as a comprehensive bibliography on the subject.]

Kennan, Patricia, and Mariangela Tempera (eds), Metamorphosing Shakespeare: Mutual Illuminations of the Arts (Bolonia: CLUEB, 2004). [Includes essays on Polanski’s Macbeth, Prospero’s Books, Nunn’s Twelfth Night, and Hoffman’s A Midsummer Night’s Dream.]

Kliman, Bernice W. (ed.), Approaches to Teaching Shakespeare’s Hamlet, revised edn. (New York: MLA, 2002). [Includes several essays on the use of films (Olivier, Richardson, Zeffirelli, Branagh, and The Lion King) in the classroom as well as an annotated screenography by Kenneth S. Rothwell.]

Kliman, Bernice W., and Rick J. Santos (eds), Latin American Shakespeares (Madison and Teaneck: Fairleigh Dickinson University Press, 2005). [Features essays on Miguel M. Delgado’s Romeo y Julieta, Latino elements in Romeo + Juliet as well as Brazilian film and television adaptations of Romeo and Juliet.]

Kujawińska-Courtney, Krystyna, and R. S. White (eds), Shakespeare’s Local Habitations (Łódź: Łódź University Press, 2007). [Essays discuss Chicken Rice War, The Maori Merchant of Venice, Rosencrantz and Guildenstern Are Dead, In the Bleak Midwinter, Bender’s The Tempest, O, Sax’s Othello, King of Texas, and Shakespeare in Love.]

Lehmann, Courtney, and Lisa S. Starks (eds), Spectacular Shakespeare: Critical Theory and Popular Cinema (Madison and Teaneck: Fairleigh Dickinson University Press; London: Associated University Presses, 2002). [Essays discuss Othello derivatives (A Double Life and one episode of the TV series Cheers), Loncraine’s Richard III, Romeo + Juliet, Nunn’s Twelfth Night, Branagh’s Much Ado About Nothing and Hamlet, Shakespeare in Love, Hamlet offshoots (Last Action Hero, Penny Marshall’s Renaissance Man, and Amy Heckerling’s Clueless), Shakespeare films in the classroom as well as teen derivatives (Darren Stein’s Jawbreaker, Robert Mandel and Katt Shea’s The Rage: Carrie 2, 10 Things I Hate About You, and Never Been Kissed).]

Lei, Bi-qi Beatrice, Judy Celine Ick, and Poonam Trivedi (eds), Shakespeare’s Asian Journeys: Critical Encounters, Cultural Geographies, and the Politics of Travel (New York; London: Routledge, 2017). [Essays discuss romance in film adaptations of The Comedy of Errors (Bhranti Bilash, Do Dooni Char, and Angoor) and Shakespeare in anime, including Romeo x Juliet.]

Levenson, Jill L., and Robert Ormsby (eds), The Shakespearean World (London; New York: Routledge, 2017). [Features a Shakespeare on film section including essays on the UK, Continental Europe, North America, Asia, and the rest of the world. Also includes essays on global television as well as Shakespeare and New Media in the Digital Age.]

Lombardo, Agostino (ed.), Shakespeare e il Novecento (Rome: Bulzoni, 2002). [Features essays on Che cosa sono le nuvole?, Loncraine’s Richard III, Looking for Richard, Chimes at Midnight, Olivier’s and Branagh’s Henry V and Hamlet, Romeo + Juliet, and In the Bleak Midwinter.]

Magnus, Laury, and Walter W. Cannon (eds), Who Hears in Shakespeare? Auditory Worlds on Stage and Screen (Madison: Fairleigh Dickinson University Press, 2012). [Essays examine all of Branagh’s films up to As You Like It, Nunn’s Twelfth Night, as well as film and television adaptations of Othello (Parker, Suzman, and Nunn).]

Malcolm, Gabrielle, and Kelli Marshall (eds), Locating Shakespeare in the Twenty-First Century (Newcastle: Cambridge Scholars Publishing, 2012). [Essays discuss the screening and digital streaming of live stage productions, the archiving and preservation of filmed Shakespeare performance, Shakespeare in Love and Anonymous, the Shakespeare Retold series, Hamlet 2, Slings and Arrows, Branagh’s As You Like It, Maqbool, and Makibefo.]

Mancewicz, Aneta, and Alexa Alice Joubin (eds), Local and Global Myths in Shakespearean Performance (Cham: Palgrave Macmillan, 2018). [Includes essays on Slings and Arrows, recent adaptations of King Lear (My Kingdom, The King Is Alive, The Last Lear, Andy Cadiff’s A Bunch of Amateurs, and Life Goes On), Almereyda’s Hamlet, Taymor’s The Tempest, and Radford’s The Merchant of Venice.]

Massai, Sonia (ed.), World-Wide Shakespeares: Local Appropriations in Film and Performance (London; New York: Routledge, 2005). [Although it focuses more specifically on stage rather than film adaptations, this collection includes essays on the afterlife of Olivier’s Henry V, Che cosa sono le nuvole?, The Maori Merchant of Venice, and Throne of Blood.]

McMullan, Gordon, Lena Cowen Orlin, and Virginia Mason Vaughan (eds), Women Making Shakespeare: Text, Reception, Performance (London; New York: Bloomsbury, 2014). [Essays discuss Olivier’s Hamlet and Richard III as well as Taymor’s The Tempest.]

Nelsen, Paul, and June Schlueter (eds), Acts of Criticism: Performance Matters in Shakespeare and His Contemporaries. Essays in Honor of James P. Lusardi (Madison and Teaneck: Fairleigh Dickinson University Press, 2006). [A collection that especially focuses on particular aspects of Shakespeare on stage, film, and television. Includes essays on Nunn’s The Merchant of Venice, Gertrude in adaptations of Hamlet (Olivier, Richardson, Rodney Bennett, and Branagh), children in the adaptations of A Midsummer Night’s Dream (Reinhardt and Dieterle, Hall, Moshinsky, Noble, Hoffman, and Edzard), 10 Things I Hate About You, and O.]

Newstok, Scott L., and Ayanna Thompson (eds), Weyward Macbeth: Intersections of Race and Performance (New York; Basingstoke: Palgrave Macmillan, 2010). [Essays discuss Polanski’s film, derivatives such as The Bloody Child: An Interior of Violence, Macbeth in Manhattan, and Grey’s Anatomy as well as Macbeth on YouTube.]

Occhiogrosso, Frank (ed.), Shakespeare in Performance: A Collection of Essays (Newark: University of Delaware Press; London: Associated University Presses, 2003). [Features essays on Nunn’s Twelfth Night, Burge’s Julius Caesar, and Shakespeare on film in the classroom.]

Neill, Michael, and David Schalkwyk (eds), The Oxford Handbook of Shakespearean Tragedy (Oxford: Oxford University Press, 2016). [A monumental collection featuring a section entitled ‘Stage and Screen’ (489–688). Leading scholars examine films and derivatives of Romeo and Juliet (Cukor, Castellani, Zeffirelli, Luhrmann, and Water), film adaptations of Hamlet (Olivier, Kozintsev, Richardson, Zeffirelli, Branagh, and Almereyda), films, television adaptations, and live-streamed performances of Othello (Buchowetzki, Welles, Sax, Zaib Shaikh, and Hytner), film and television adaptations of King Lear (Kozintsev, Brook, Kurosawa, Blessed, Miller, and Elliott), the challenges of adapting Macbeth to the screen (paying special attention to Welles, Kurosawa, Polanski, and Nunn), Titus, Fiennes’s Coriolanus as well as film adaptations of Julius Caesar and Antony and Cleopatra (Mankiewicz, Burge, DeMille, and Heston).]

O’Neill, Stephen (ed.), Broadcast Your Shakespeare: Continuity and Change across Media (London; New York: Bloomsbury, 2018). [Essays discuss Reinhardt and Dieterle’s A Midsummer Night’s Dream, the Global Shakespeares Video & Performance Archive, Shakespeare on Wikipedia, YouTube, and Twitter, Juliet on Tumblr, the ‘Generation of Vipers’ episode of the ITV series Lewis, the Shakespeare web series, and Hiddleston and Shakespearean stardom online.]

Panja, Shormishtha, and Babli Moitra Saraf (eds), Performing Shakespeare in India: Exploring Indianness, Literatures and Cultures (New Delhi: SAGE, 2016). [Includes essays on Kaliyattam, Omkara, Saptapadi, and Shakespeare Wallah.]

Procházka, Martin, Michael Dobson, Andreas Höfele, and Hanna Scolnicov (eds), Renaissance Shakespeare/Shakespeare Renaissances: Proceedings of the Ninth World Shakespeare Congress (Lanham: Rowman & Littlefield, 2014). [Essays discuss Otelo de Oliveira, Omkara, Polanski’s The Pianist, and women filmmakers directing adaptations of Macbeth such as Macbeth on the Estate, Macbeth: The Comedy, The Bloody Child: An Interior of Violence, and Growing Up with Macbeth.]

Semenza, Greg Colón (ed.), The English Renaissance in Popular Culture: An Age for All Time (New York; Basingstoke: Palgrave Macmillan, 2010). [Essays discuss films such as Stage Beauty, Looking for Richard, Taylor’s The Taming of the Shrew, The Filth and the Fury, and Paris Belongs to Us.]

Smith, Bruce R. (ed.), The World’s Shakespeare, 1660–Present, vol. 2 of The Cambridge Guide to the Worlds of Shakespeare (New York: Cambridge University Press, 2016). [This volume includes brief essays on Bollywood and Indian films in English, computer-generated and live-feed projections in theatrical productions, representations of the balcony scene (Cukor, Castellani, Zeffirelli, and Luhrmann), the Harfleur speech on film (Olivier, Branagh, Babakitis, and Bogdanov) and derivatives, Titus, Branagh’s Much Ado About Nothing, Throne of Blood, and Polanski’s Macbeth, the television adaptations of Measure for Measure directed by Desmond Davis and David Thacker as well as representations of Shakespeare in films and television series such as Will Shakespeare, Shakespeare in Love, A Waste of Shame, Miguel y William, and Anonymous. In addition, this monumental work features a section entitled ‘Shakespeare and Media History’ including essays on film and television audiences, world cinema, plays-within-the-films (the films of Hamlet directed by Olivier, Branagh, and Almereyda as well as Olivier’s Henry V), documentaries (Looking for Richard, Much Ado About Shakespeare, Shakespeare Behind Bars, and The Hobart Shakespeareans), the Sonnets on screen (John Gielgud’s The Ages of Man, The Angelic Conversation, A Waste of Shame, and Barton’s Playing Shakespeare), animated Shakespeares (The Lion King, The Animated Tales series, Romeo and Juliet: Sealed with a Kiss, and Romeo + Juliet), as well as Shakespeare on YouTube.]

Starks, Lisa S., and Courtney Lehmann (eds), The Reel Shakespeare: Alternative Cinema and Theory (Madison and Teaneck: Fairleigh Dickinson University Press; London: Associated University Presses, 2002). [Includes essays on silent film adaptations of Hamlet (Plumb, Rodolfi, and Gade), Hall’s A Midsummer Night’s Dream, Prospero’s Books, Titus, Polanski’s Macbeth, My Own Private Idaho, Branagh’s films, Shakespeare in the classroom as well as a selective bibliography on the subject.]

Terris, Olwen, Eve-Marie Oesterlen, and Luke McKernan (eds), Shakespeare on Film, Television and Radio: The Researcher’s Guide (London: British Universities Film & Video Council, 2009). [Features, among others, essays on Olivier’s unmade film of Macbeth, Shakespeare and British television, Shakespeare and television advertising, Shakespeare online, as well as Shakespeare and theatre on new media platforms. The volume also includes lists of distributors, archives, and libraries, a selective annotated bibliography, and recommendations on using archives and citing films, television programmes, and radio broadcasts.]

Thompson, Ayanna (ed.), Colorblind Shakespeare: New Perspectives on Race and Performance (New York; London: Routledge, 2006). [Includes essays on Love’s Labour’s Lost, references to Othello in the television series The Lone Ranger, Have Gun – Will Travel, and The West Wing as well as issues of race in Titus, Romeo + Juliet, and Andrzej Bartkowiak’s Romeo Must Die.]

Trivedi, Poonam, and Paromita Chakravarti (eds), Shakespearean and Indian Cinemas: ‘Local Habitations’ (New York; London: Routledge, 2019). [Discusses Bhardwaj’s trilogy, Eklavya: The Royal Guard, Kadiri Venkata Reddy’s Gunasundari Katha, Shakespeare in Malayalam cinema (Kaliyattam, Kannaki, and Karmayogi), Qayamat Se Qayamat Tak, Indian silent Shakespeares (K. B. Athavale’s Khoon-E-Nahak, Nanubhai Desai’s Champraj Hado, Saki’s Kusum Kumari, D. D. Dabke’s Dil Farosh, Jayant Desai’s Bhool Bhulaiyan, and Pandurang Taligeri’s Khooni Taj), Maqbool and Throne of Blood, Sturla Gunnarssons’s Such a Long Journey, adaptations of King Lear (Aparna Sen’s 36 Chowringhee Lane, Jon Sen’s Second Generation, The Last Lear, and Life Goes On), Indian independent cinema (Sharat Katariya’s 10ml Love and Nagesh Kukunoor’s 8 x 10 Tasveer), Ellis R. Dungan’s Ambikapathy and P. Neelakantan’s Ambikapathy, M. S. Rajashekar’s Nanjundi Kalyana, Shakespeare in Tamil cinema (P. Madhavan’s Rajapart Rangadurai, T. R. Ramanna’s Sorkkam, and Dada Mirasi’s Ratha Thilagam), adaptations of The Comedy of Errors (Bhranti Bilash, Do Dooni Char, Angoor, N. S. Shankar’s Ulta Palta, and Smeep Kang’s Double Di Trouble), and Shakespeare in Assamese cinema (Hemanta Kumar Das’s Othello (We Too Have Our Othellos), Manju Borah’s Baibhab – A Scam in Verse, and Jahnu Barua’s Aparoopa). The volume also includes interviews with Pankaj Butalia, Roysten Abel, and Aparna Sen as well as an annotated filmography.]

Trivedi, Poonam, Paromita Chakravarti, and Ted Motohashi (eds), Asian Interventions in Global Shakespeare: ‘All the World’s His Stage’ (New York; London: Routledge, 2020). [Essays analyse Haider and Prince of the Himalayas, recent Bengali films (Sen’s Arshinagar and Srijit Mukherjee’s Zulfikar), The Banquet and the television show Drama for Life, Shakespeare in anime, Asian Shakespeare on the Internet, and the performance archive and the digital construction of Asian Shakespeare.]

Voigts-Virchow, Eckart (ed.), Janespotting and Beyond: British Heritage Retrovisions since the Mid-1990s (Tübingen: Gunter Narr, 2004). [Includes two essays on Almereyda’s Hamlet and the representation of Shakespeare in recent television documentaries.]

Wells-Lassagne, Shannon, and Ariane Hudelet (eds), Screening Text: Critical Perspectives on Film Adaptation (Jefferson; London: McFarland, 2013). [Three essays discuss Shakespearean films in the 1930s (Taylor’s The Taming of the Shrew, Reinhardt and Dieterle’s A Midsummer Night’s Dream, Cukor’s Romeo and Juliet, and Czinner’s As You Like It), Branagh’s Hamlet, and deliberately poor renditions of Shakespeare on film such as To Be or Not to Be and Theatre of Blood.]

Welsh, James M., and Peter Lev (eds), The Literature/Film Reader: Issues of Adaptation (Lanham: Scarecrow Press, 2007). [Includes essays on the derivatives, Romeo + Juliet as well as closure in Branagh’s Hamlet, Prospero’s Books, and Shakespeare in Love.]

Welsh, James M., Richard Vela, and John C. Tibbetts (eds), Shakespeare into Film (New York: Checkmark Books, 2002). [Reprints a selection of articles from Literature/Film Quarterly and expands the Shakespearean entries from The Encyclopedia of Stage Plays into Film. The articles discuss Branagh’s Hamlet and Henry V, Zeffirelli’s Hamlet, Kozintsev’s King Lear, Welles’s and Polanski’s Macbeth, film and television adaptations of Richard III (Olivier, Howell, and Loncraine), Romeo + Juliet, Jarman’s The Tempest, closure in Branagh’s Hamlet, Prospero’s Books, and Shakespeare in Love, Welles’s Othello, Love’s Labour’s Lost, Shakespeare as a character in Widgey R. Newman’s The Immortal Gentleman and Time Flies as well as an appendix on the derivatives dealing with the world of the stage (To Be or Not to Be, A Double Life, Theatre of Blood, Shakespeare Wallah, In the Bleak Midwinter, Looking for Richard, Shakespeare in Love, Les enfants du paradis, The King Is Alive, and Rosencrantz and Guildenstern Are Dead).]

Abele, Elizabeth, and Annalisa Castaldo (guest eds), College Literature, 31(4), 2004. [Shakespeare in Popular Culture special issue. Includes essays on Loncraine’s Richard III, film derivatives of Hamlet, and Almereyda’s Hamlet.]

Baatz, Christine, and Stefanie Lethbridge (eds), ‘William Shakespeare: Appropriations and Transformations of a Cultural Icon’, ZAA: Zeitschrift für Anglistik und Amerikanistik: A Quarterly of Language, Literature and Culture, 51(4), 2003. [Includes articles on Looking for Richard and Loncraine’s Richard III.]

Barnden, Sally, and Nora J. Williams (guest eds), ‘Shakespeare and Politics between Media’, Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 13(1), 2020, www.borrowers.uga.edu/7171/toc. [Includes articles on Jordan Peele’s Get Out, The King Is Alive, Slings and Arrows, remediations of Sir Thomas More on YouTube and Twitter, and Richard III in the documentary NOW: In the Wings on a World Stage and House of Cards.]

Bourget, Jean-Loup, and François Laroque (guest eds), Études anglaises, 55(2), 2002. [Special Shakespeare à l’écran issue. Features articles on Titus Andronicus on film and television, Branagh’s films, Prospero’s Books, the supernatural in film adaptations of A Midsummer Night’s Dream (Blackton, Reinhardt and Dieterle, Hall, Coronado, Noble, Hoffman, and Woody Allen’s A Midsummer Night’s Sex Comedy) and The Tempest (Stow and Jarman), Mankiewicz’s Julius Caesar and Cleopatra, Shakespeare in Love as well as an annotated bibliography on the subject.]

Brown, Sarah Annes (guest ed.), ‘Shakespeare and Science Fiction’, Foundation: The International Review of Science Fiction, 48(3), 2019. [Includes articles on Westworld, Star Trek, and the Marvel Cinematic Universe.]

Buchanan, Judith (guest ed.), Shakespeare (British Shakespeare Association), 3(3), 2007. [Special issue on Shakespeare on silent film. Includes articles on King John, the 1905 and 1908 films of The Tempest, as well as the films released for the Shakespeare Tercentenary of 1916.]

Calbi, Maurizio, and Douglas Lanier (guest eds), ‘Reading Shakespeare Adaptations Historically’, Adaptation, 10(2), 2017. [Among others, includes articles on Thea Sharrock’s Henry V for The Hollow Crown, Matías Piñeiro’s film adaptations (Rosalinda, Viola, and La Princesa de Francia), Kozintsev’s King Lear, and Humphrey Jennings’s Fires Were Started.]

Calbi, Maurizio, and Stephen O’Neill (guest eds), ‘Shakespeare and Social Media’, Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 10(1), 2016, www.borrowers.uga.edu/29/toc. [Includes articles on directions for future research in social media, Juliet on Facebook, social media and the marketing practices of Shakespeare theatres and festivals, the ethical challenges of social media, Shakespeare and Facebook groups, Shakespeare on YouTube, teaching Shakespeare through social games, and new media and pedagogy.]

Chaudhuri, Sukanta (guest ed.), ‘Shakespeare in India’, Shakespearean International Yearbook, 12, 2012. [Includes articles on a general overview of Shakespeare in Indian cinema, Maqbool, and The Last Lear.]

Cimitile, Anna Maria, and Katherine Rowe (guest eds), ‘Shakespeare in the Media: Old and New’, Anglistica, 15(2), 2011, www.sebinaol.unior.it/sebina/repository/ catalogazione/documenti/2011%2015.2%20Cimitile-Rowe%20Anglistica.pdf.[Includes articles on Throne of Blood and Ran, Vittorio Sindoni’s Butta la luna, Second Generation, Ashish Avikunthak’s Dancing Othello as well as an interview with the director, global Shakespeares and the digital archive, and YouTube Hamlets.]

Cinpoeş, Nicoleta, and Boika Sokolova (guest eds), ‘“Un/Happy Wrecks”: Post-1989 Tempests’, Shakespeare Bulletin, 29(3), 2011. [Includes articles on Krzysztof Warlikowski’s The Tempest, the play on Polish television, Prospero’s Books, and Taymor’s film.]

Croteau, Melissa (guest ed.), ‘Shakespeare in French Film / France in Shakespearean Film’, Shakespeare on Screen in Francophonia, 2015, www.shakscreen.org/analyses/. [Includes articles on Ophélia, Les enfants du paradis, Le rideau rouge, Éric Rohmer’s A Tale of Winter, Godard’s King Lear, and André Cayatte’s The Lovers of Verona.]

‘Dossier Shakespeare 1616–2016’, Positif, 670, 2016. [Includes short articles on Kozintsev’s film adaptations, Branagh’s Shakespearean heroines, Shakespeare in television series, derivatives and citations, and film adaptations of Romeo and Juliet.]

Drouet, Pascale, and Anne-Marie Costantini-Cornède (guest eds), ‘Shakespeare, films et textes: Théorie française et réception critique / Shakespeare, Screen and Texts: French Theory and Critical Reception’, Cahiers Shakespeare en devenir, 15, 2020, www.shakespeare.edel.univ-poitiers.fr/index.php?id=2296. [Among others, articles discuss aspects of Radford’s The Merchant of Venice, Brozel’s Macbeth, Che cosa sono le nuvole?, Almereyda’s Cymbeline, Prospero’s Books, F for Fake and Chimes at Midnight, and Nunn’s The Comedy of Errors.]

Friedman, Michael D. (guest ed.), ‘Shakespearean Screen Adaptations for the Teen Market’, Shakespeare Bulletin, 26(2), 2008. [Includes articles on derivatives of Twelfth Night (Lisa Gottlieb’s Just One of the Guys, Steve Boyum’s Motocrossed, Lost and Delirious, and She’s the Man), The Animated Tales series as well as an annotated bibliography on the subject.]

Greenhalgh, Susanne (guest ed.), ‘Live Cinema Relays of Shakespearean Performance’, Shakespeare Bulletin, 32(2), 2014. [Includes reviews of Hytner’s Hamlet and Othello, Michael Grandage’s King Lear, Ashford and Branagh’s Macbeth, Doran’s Richard II, and Rourke’s Coriolanus.]

Hodgdon, Barbara (guest ed.), Shakespeare Quarterly, 53(2), 2002. [Special Screen Shakespeare issue. Includes articles on Almereyda’s Hamlet and popular film adaptations, Hamlet: The Drama of Vengeance, films and television programmes exploring issues related to Shakespeare and race, Shakespeare film clips, Loncraine’s Richard III, and the notion of popular feminism in Hoffman’s A Midsummer Night’s Dream and Titus.]

Hopkins, Lisa (guest ed.), Journal of Adaptation in Film & Performance, 10(2), 2017. [Special issue on adaptations of early modern English drama. Among others, includes articles on Kurzel’s Macbeth, Almereyda’s Cymbeline, the BBC season Shakespeare Unlocked, Love’s Labour’s Lost, and Westworld.]

Hopkins, Lisa (guest ed.), ‘Shakespeare across Time and Space’, Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 12(1), 2018, www.borrowers.uga.edu/7169/toc. [Includes articles on the representation of the author in Shakespeare in Love, ‘The Shakespeare Code’, and Bill, Caesar Must Die, Lee Joon-ik’s King and the Clown, The Rest Is Silence, and derivatives of Pericles (Paris Belongs to Us, Shainee Gabel’s A Love Song for Bobby Long, and Rachel Perkins’s Bran Nue Dae).]

Huang, Alexa (guest ed.), ‘Asian Shakespeares on Screen: Two Films in Perspective’, Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 4(2), 2009, www.borrowers.uga.edu/7158/toc. [A collection of multimedia essays on Maqbool and The Banquet.]

Joubin, Alexa Alice (guest ed.), ‘Global Shakespeares in World Markets and Archives’, Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 11(1), 2017, www.borrowers.uga.edu/7167/toc. [Includes articles on Supple’s Twelfth Night, Entabeni and Death of a Queen, Kaliyattam, Omkara, Volfango de Biasi’s Iago, and global Shakespeares in the digital archives.]

Klett, Elizabeth (guest ed.), ‘Shakespeare and Dance’, Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 10(2), 2017, www.borrowers.uga.edu/7165/toc. [Includes articles on the films of Romeo and Juliet directed by Cukor, Zeffirelli, and Luhrmann, Whedon’s Much Ado About Nothing, Omkara, and Wheeldon’s The Winter’s Tale.]

Krontiris, Tina, and Jyotsna Singh (guest eds), ‘Shakespeare Worldwide and the Idea of an Audience’, Gramma/Γράμμα: Journal of Theory and Criticism, 15, 2007, www.enl.auth.gr/gramma/gramma07_contents.htm. [Includes articles on Shakespeare Wallah, Omkara, Che cosa sono le nuvole?, Romeo + Juliet, and Tromeo and Juliet.]

Lanier, Douglas M. (guest ed.), Shakespeare Quarterly, 67(4), 2016. [Special #Bard issue. Includes articles on the digital game Play the Knave, Viola, A Piece of Work, Rourke’s Coriolanus, and Ophelia on the web.]

Literature/Film Quarterly, 1973–. [Regularly publishes Shakespeare on film issues. See issues 30(3) [2002], 32(2) [2004], 33(2) [2005], 34(2) [2006], 35(2) [2007], 36(2) [2008], 37(2) [2009], 39(2) [2011], 41(2) [2013], 42(2) [2014], 43(2) [2015], and 44(2) [2016]. In 2017 LFQ became an open-access journal (www.lfq.salisbury.edu/).]

Masten, Jeffrey, Wendy Wall, and W. B. Worthen (eds), ‘Media, Technology, and Performance’, Renaissance Drama, 34, 2005. [Includes essays on children in The Animated Tales series, Shakespeare in Love, Noble’s A Midsummer Night’s Dream, Titus, The Children’s Midsummer Night’s Dream, and Olivier’s Hamlet.]

Melnikoff, Kirk (ed.), ‘Orson Welles and Shakespeare in Film’, Shakespeare Bulletin, 23(1), 2005. [Includes articles on Othello and Chimes at Midnight as well as a comprehensive annotated bibliography on his film adaptations also including The Merchant of Venice and the documentary Filming Othello.]

O’Neill, Stephen (guest ed.), ‘Shakespeare and Digital Humanities: New Perspectives and Future Directions’, Humanities 8(2), 2019, www.mdpi.com/journal/humanities/special_issues/Shakespeare. [Includes articles on pedagogical issues of digital Shakespeares, research and teaching opportunities with databases, YouTube Shakespeares, Shakespearean podcasts, digitised playbooks in the classroom, Shakespeare on Twitter, Shakespeare and digital humanities projects, and Doran’s The Tempest.]

Pagetti, Carlo, and Mariacristina Cavecchi (guest eds), ‘Shakespeare in the Maze of Contemporary Culture’, Stratagemmi: Prospettive teatrali, 24–25, 2013. [Includes articles on Van Hove’s Roman Tragedies, references to the plays in Italian westerns, Miller’s The Merchant of Venice, Elliott’s King Lear, Shakespeare Wallah, and Omkara.]

Ross, Charles (ed.), CLCWeb: Comparative Literature and Culture: A WWWeb Journal, 6(1), 2004, www.docs.lib.purdue.edu/clcweb/vol6/iss1/. [Special Shakespeare on Film in Asia and Hollywood issue. Features articles on Branagh’s Hamlet, Throne of Blood, Zeffirelli’s The Taming of the Shrew and Hamlet, Romeo + Juliet, Looking for Richard, film adaptations and derivatives of Othello (the films directed by Welles, Yutkevich, Burge, Parker, Zeffirelli’s Otello, and O as well as the television adaptations directed by Miller, Melton, and Suzman], Forbidden Planet, and Howell’s and Taymor’s adaptations of Titus Andronicus.]

Sager, Jenny (guest ed.), ‘Not Shakespeare: Early Modern Drama and Film’, Shakespeare Bulletin, 32(1), 2014. [Despite the title, includes one article on Anonymous and Shakespeare in Love and another on Taymor’s The Tempest.]

Selected Papers of the Ohio Valley Shakespeare Conference, 3, 2009, www.ideaexchange.uakron.edu/spovsc/vol3/iss2009/. [Includes articles on My Own Private Idaho, Hippolyta in the adaptations directed by Moshinsky, Noble, and Hoffman as well as the Hamlet films directed by Olivier and Richardson.]

Semenza, Greg Colón (guest ed.), ‘Forum: After Shakespeare on Film’, Shakespeare Studies, 38, 2010. [Includes 10 essays by leading scholars on the future of Shakespeare on Screen (studies) and the use of new technologies in the classroom and our critical practice. Discusses the use of digital resources, intermedial phenomena such as Travis Preston’s King Lear, digital art/games and intermediality, public perceptions of Shakespeare and social networks, YouTube and the idea of the archive, Romeo + Juliet, tendencies of Shakespeare on film criticism, recent adaptations and cultural capital, and The Banquet and global Shakespeares.]

Semenza, Greg Colón (guest ed.), ‘Shakespeare and the Auteurs’, Shakespeare Bulletin, 34(3), 2016. [Includes articles on Michael Powell’s A Matter of Life and Death, unmade Shakespearean films, The Bad Sleep Well, Water, Almereyda’s Hamlet and Cymbeline, James Gray’s We Are the Night, the first season of The Hollow Crown as well as retrospective auteur reviews of Olivier, Welles, Kurosawa, Bhardwaj, and Taymor.]

Shakespeare Survey, 61, 2008. [Special volume on ‘Shakespeare, Sound and Screen’. Includes articles on Love’s Labour’s Lost, Hoffman’s A Midsummer Night’s Dream, Schaefer’s Richard II, film and television adaptations of Richard II, Twelfth Night in American Sign Language, Supple’s Twelfth Night, Polanski’s Macbeth, the gaze in the Hamlet adaptations directed by Olivier, Branagh, and Almereyda, John Frankenheimer’s The Manchurian Candidate, The Wooster Group Hamlet, Prospero’s Books, An Age of Kings, televised stage performances and derivatives (Kevin Kline and Kirk Browning’s Hamlet, King of Texas, Sax’s Othello, and Slings and Arrows), YouTube parodies as well as Makibefo and Souli.]

Smith, Peter J., Janice Valls-Russell, and Daniel Yabut (guest eds), ‘Shakespeare under Global Lockdown’, Cahiers Élisabéthains, 103(1), 2020. [Includes reviews of Doran’s The Tempest and Henry V, Simon Godwin’s Twelfth Night, The Two Gentlemen of Verona and Antony and Cleopatra, Giorgio Sangati’s Poetry Death Match, Donnellan’s The Winter’s Tale and Measure for Measure, Krzysztof Pastor’s The Tempest, Thomas Jolly’s Macbeth Underworld, Henry VI, and Romeo and Juliet, Barma’s Roméo et Juliette, Sid Phoenix’s Midsummer Night Stream, Christopher Luscombe’s Love’s Labour’s Lost and Love’s Labour’s Won [Much Ado About Nothing], Sava Cebotari’s Richard III, Oskaras Koršunovas’s Miranda, Justin Audibert’s Macbeth, Kenny Leon’s Much Ado About Nothing, Lucy Bailey’s Titus Andronicus, Serhii Masloboishchikov’s The Tempest, Phyllida Lloyd’s The Tempest, Silviu Purcărete’s Measure for Measure, Yury Butusov’s Measure for Measure, Lê Hùng’s Macbeth, Robert Lepage’s Coriolanus, Rufus Norris’s Macbeth, Eve Best’s Macbeth, Ostermeier’s Hamlet, Rourke’s Coriolanus, Atra Bouadma’s Twelfth Night (Ghir Lejbal li ma Yetlaqawsh), Pedro Amalio López’s La tragedia de Macbeth, and Federay Holmes and Elle While’s Hamlet.]

Williams, Deanne (guest ed.), ‘Girls and Girlhood in Adaptations of Shakespeare’, Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 9(1), Summer/Fall 2014, www.borrowers.uga.edu/27/toc. [Includes articles on television series aimed at teen girls (My So-Called Life, Buffy the Vampire Slayer, Gilmore Girls, Gossip Girl, and Switched at Birth), Ophelia on YouTube, 10 Things I Hate About You, and Kozintsev’s Ophelia.]

Alter, Stephen, Fantasies of a Bollywood Love Thief: Inside the World of Indian Moviemaking (Orlando: Harcourt, 2007). [A highly personal introduction to the rituals and culture of the Bollywood filmmaking industry, devotes one chapter to Maqbool and several chapters to the genesis, shooting, release, and reception of Omkara.]

Bhardwaj, Vishal, Maqbool / Omkara / Haider: The Original Screenplays (with English Translations) [also distributed as A Shakespearean Trilogy: Maqbool / Omkara / Haider], 3 vols (Noida, Uttar Pradesh: HarperCollins India, 2014). [Prints the screenplays for his three Shakespearean adaptations in Hindi and English.]

Elton, Ben, Upstart Crow: The Scripts (London; New York: Bantam Press, 2018). [Includes all the scripts corresponding to the first two seasons (or ‘Folios’, as Elton repeatedly refers to them) of the BBC show. The scripts also include all sorts of funny annotations by Elton.]

Geoffrey Wright’s Macbeth: Explicit & Uncut (London: Revolver, 2007). [Includes an annotated text of the play with a foreword by the director (vii–ix), an introduction by Ivan Phillips (xi–xvii) and stills from the film.]

Logan, John, Coriolanus (New York: Newmarket, 2011). [The screenplay for Fiennes’s film adaptation. Also includes an introduction and scene notes by Logan, an interview with the director as well as a selection of stills from the film.]

Measom, Christopher (ed.), Anonymous: William Shakespeare Revealed (New York: Newmarket, 2011). [Prints John Orloff’s screenplay for the film along with a series of short essays on the actors and the authorship question as well as commentaries from the cast and crew on costume design, locations, sets, and visual effects. A beautifully designed volume incorporating a profusion of stills from the film, pre-production shots, and sketches.]

Taymor, Julie, The Tempest: Adapted from the Play by William Shakespeare (New York: Abrams, 2010). [The screenplay for the film accompanied by many stills and behind-the-camera pictures. Also includes a foreword by Jonathan Bate (7–11) and an introduction by Taymor (13–21).]

Welles, Orson, and Antonio Buero Vallejo, Campanas a medianoche, edited by Luis Deltell and Jordi Massó (Doral, FL: Stockcero, 2016). [The text of the first Spanish-language script of Chimes at Midnight, translated by the playwright Antonio Buero Vallejo and later discarded at the author’s request.]

Whedon, Joss, Much Ado About Nothing: A Film by Joss Whedon (London: Titan Books, 2013). [Apart from the screenplay, includes an introduction by and an interview with the director. Also features a selection of stills from the film.]

White, Mark, Kenneth Branagh (London: Faber and Faber, 2005). [Includes substantial sections on the making of his Shakespeare films up to Love’s Labour’s Lost as well as his role as Iago in Parker’s Othello.]

William Shakespeare’s Romeo and Juliet / Julian Fellowes’s Adapted Screenplay Romeo and Juliet (New York: Ember, 2013). [Includes an introduction by Julian Fellowes, the text of Shakespeare’s play from Jonathan Bate and Eric Rasmussen’s The Complete Works, and Fellowes’s screenplay for Carlei’s film adaptation.]

Zeffirelli, Franco, Zeffirelli: The Autobiography of Franco Zeffirelli (New York: Weidenfeld & Nicolson, 1986). Expanded and updated as Autobiografia (Milan: Mondadori, 2006). [Includes chapters on The Taming of the Shrew, Romeo and Juliet, and Otello. This new edition adds one chapter on the filming of Hamlet. Although it is not indicated, the second Italian edition omits many details given in the earlier version and in some passages the text is abbreviated.]