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Shakespeare'i Yeniden Yazmak: William Shakespeare'in oyunu The Tempest'ın İki Film Uyarlamasındaki Postmodern Drama Unsurları

Yıl 2021, , 1098 - 1115, 25.12.2021
https://doi.org/10.31122/sinefilozofi.980803

Öz

This article is going to discuss and compare two film adaptations of William Shakespeare’s classical drama The Tempest (1611). Julie Taymor’s The Tempest (2010) and Derek Jarman’s The Tempest (1979) are two peculiar representations specifically rewriting gender, race and power issues original text has dealt with. Reason behind the selection of The Tempest (1611) in this reseaarch is its specificity in the Western Drama in terms of having fragments from mythology, ancient Greek Drama, Latin Drama, Romance, Neoclassicism and Symbolism as well as discussing modern and universal issues like gender, race and power. The time Shakespeare wrote this play coincided with the beginning of English colonialism. In general, it rallies with the classical approaches of tragedy and comedy through combining their elements. The Tempest may be regarded as the initiation of the post-colonial drama. Adaptation of The Tempest into cinema and theatre is a long journey. In this study, Derek Jarman’s and Julie Taymor’s film adaptations are going to be discussed and compared regarding their postmodern drama elements. Both films are selected for analysis because of their focus on sexual identities. In order to contribute to previous studies regarding Shakespeare’s play The Tempest as a postmodern play because it contains themes that he puts at the center of postmodernism, as a result of the findings obtained at the end of the study, it is revealed that Tempest is a text that can be rewritten in accordance with the socio-cultural position and stance in the historical context. It can address audience of today with its themes and narrative and can be adapted to a postmodern film with its timelessness. The other conclusion of this research is that while Shakespeare’s play The Tempest was rewritten with a queer gaze in Derek Jarman’s adaptation in 1979, it was seen that the text was rewritten with a feminist discourse and narrative in Julie Taymor’s adaptation.

Kaynakça

  • Abbasi, P., & Saeedi, A. (2014). On The Postmodernist Elements in Shakespeare’s The Tempest. Epiphany, 7(1).
  • Appignanesi, R. & Garratt, C. (1997). Introducing postmodernism: a graphic guide.
  • Arriola, J. L. (2006). Postmodern Filming of Literature: Sources, Contexts, and Adaptations. UST Publishing House.
  • Barker, F. & Hulme, P. (1985). Nymphs and reapers heavily vanish: the discursive con-texts of The Tempest.
  • Baudrillard, J. (1988). Selected Writings. California: Stanford University Press.
  • Best, S. & Kellner, D. (1991). Postmodern Theory: Critical Interrogations. New York: Guilford.
  • Boggs, C. & Pollard, T. (2003). A World in Chaos: Social Crisis and The Rise of Postmodern Cinema. Rowman & Littlefield Publishers.
  • Booker, M. K. (2007). Postmodern Hollywood: What’s new in film and why it makes us feel so strange. Greenwood Publishing Group.
  • Brunsting, J.(2012). Joshua Revıews Derek Jarman’s The Tempest [Blu-Ray Revıew], https://criterioncast.com/reviews/joshua-reviews-derek-jarmans-the-tempest-blu-ray-review
  • Clemens, W. H. (1951). The Development of Shakespeare’s Imagery. New York: A Drama Book.
  • Cohen, W. (1987). Political criticism of Shakespeare. Shakespeare Reproduced: The text in history and ideology, 18-46.
  • Creswell, J. W. (2007). Qualitative İnquiry & Research Design: Choosing Among Five Approaches. USA: SAGE Publications.
  • Davis, Hugh H. (2013). Rounded With a Sleep: Prospero’s Dream in Derek Jarman’s The Tempest. Literature Film Quarterly. 41 (2): 92–101.
  • Denzin, N. K. (1991). Images of Postmodern Society: Social Theory and Contemporary Cinema (Vol. 11). Sage.
  • Ellis, J. (2001). Conjuring The Tempest: Derek Jarman and the Spectacle of Redemption. GLQ: A Journal of Lesbian and Gay Studies. 7 (2): 265–284.
  • Frank, T. (1998). The Conquest Of Cool: Business Culture, Counterculture, and The Rise of Hip Consumerism. University of Chicago Press.
  • Garber, M. (2005). Shakespeare After All. New York: Anchor Books.
  • Gompertz, W. (2016). Why is Shakespeare more popular than ever? BBC News. https://www.bbc.com/news/magazine-36114485.
  • Grady, H. (1991). The Modernist Shakespeare: Critical Texts in a Material World. Oxford: Clarendon.
  • Habermas, J. (1983). Modernity–An Incomplete Project. In The Anti-Aesthetic. Port Townsend.
  • Hancock, R.D. & Algozzine, B. (2006). Doing Case Study Research. New York: Teachers College Press.
  • Hassan, I. (1982). The Dismemberment of Orpheus: Toward a Postmodern Literature. Univ of Wisconsin Press.
  • Hawkes, T. (1992). Meaning by Shakespeare. Routledge. London and New York.
  • Jameson, F. (1991). Postmodernism, or, the Cultural Logic of Late Capitalism. Duke university press.
  • Jencks, C. (1977). The Language Of Post-Modern Architecture (Vol. 19771). New York: Rizzoli.
  • Jencks, C. (1987). Postmodern and late modern: The essential definitions. Chicago Review 35.(4). 31-58.
  • Corbusier, L. (1995). Vers Une Architecture. Paris: Flammarion.
  • Lindbergs, K. (2011). Radical Shakespeare: The Alchemy of Derek Jarman’s “The Tempest” https://cinebeats.wordpress.com/2011/11/01/radical-shakespeare-the-alchemy-of-derek-jarmans-the-tempest/.
  • Lyotard, J. F. (1984). The Postmodern Condition: a Report on Knowledge (Vol. 10). U of Minnesota Press.
  • Merriam, S. (1988). Case Study Research in Education: a Qualitative Approach. San Francisco: Jossey-Bass.
  • Morris, N. (2016). The Spell of the Tempest: Derek Jarman Designs. https://www2.bfi.org.uk/news-opinion/news-bfi/features/spell-tempest-derek-jarman-designs
  • Orgel, S., (1987). The Tempest. By William Shakespeare. Oxford: Oxford University Press. 1-87.
  • Partridge, E. (2019). Shakespeare’s Bawdy. Routledge.
  • Peter, E. (2020). Shakespeare’s Vivid Presence in the Age of Postmodernity. Postmodern Openings, 11(3), 303-317.
  • Sandler, I. (1997). Art of the Postmodern Era: from the Late 1960s to the Early 1990s. Routledge.
  • Schwarzmantel, J. (1998). The Age of İdeology: Political İdeologies from the American Revolution to Postmodern Times. NYU Press.
  • Shakespeare, W. (1995). The Tempest, Penguin Classic Series.
  • Shakespeare, W. (1997a). Othello, The Moor of Venice. In The Complete Works of William Shakespeare. (pp. 818 - 857). Wordsworth Editions Ltd.
  • Shakespeare, W. (1997b). The Merchant of Venice. In The Complete Works of William Shakespeare. (pp. 388 - 415). Wordsworth Editions Ltd. Shakespeare, W. (1997c). The Tempest. In The Complete Works of William Shakespeare. (pp. 1135 - 1159). Wordsworth Editions Ltd.
  • Shakespeare, W. (1997d). Titus Andronicus. In The Complete Works of William Shakespeare. (pp. 139 - 165). Wordsworth Editions Ltd.
  • Thompson, A. (1995). ‘Miranda, Where’s Your Sister’: Reading Shakespeare’s The Tempest. 168-77.
  • Valdivieso, S. M. (1998). Double Erasure in The Tempest: Miranda in Postmodern Critical Discourse. SEDERI: yearbook of the Spanish and Portuguese Society for English Renaissance Studies, (9), 299-304.
  • Yin, R. (1984). Case Study Research: Design and Methods. California: Sage Publications.
  • Yoshino, K. (2011). A thousand Times More Fair: What Shakespeare’s Plays Teach Us About Justice. Harper Collins Publishers.

Rewriting Shakespeare: Discussing Postmodern Drama Elements in Two Feature Film Adaptations of William Shakespeare’s play “The Tempest”

Yıl 2021, , 1098 - 1115, 25.12.2021
https://doi.org/10.31122/sinefilozofi.980803

Öz

This article is going to discuss and compare two film adaptations of William Shakespeare’s classical drama The Tempest (1611). Julie Taymor’s The Tempest (2010) and Derek Jarman’s The Tempest (1979) are two peculiar representations specifically rewriting gender, race and power issues original text has dealt with. Reason behind the selection of The Tempest (1611) in this reseaarch is its specificity in the Western Drama in terms of having fragments from mythology, ancient Greek Drama, Latin Drama, Romance, Neoclassicism and Symbolism as well as discussing modern and universal issues like gender, race and power. The time Shakespeare wrote this play coincided with the beginning of English colonialism. In general, it rallies with the classical approaches of tragedy and comedy through combining their elements. The Tempest may be regarded as the initiation of the post-colonial drama. Adaptation of The Tempest into cinema and theatre is a long journey. In this study, Derek Jarman’s and Julie Taymor’s film adaptations are going to be discussed and compared regarding their postmodern drama elements. Both films are selected for analysis because of their focus on sexual identities. In order to contribute to previous studies regarding Shakespeare’s play The Tempest as a postmodern play because it contains themes that he puts at the center of postmodernism, as a result of the findings obtained at the end of the study, it is revealed that Tempest is a text that can be rewritten in accordance with the socio-cultural position and stance in the historical context. It can address audience of today with its themes and narrative and can be adapted to a postmodern film with its timelessness. The other conclusion of this research is that while Shakespeare’s play The Tempest was rewritten with a queer gaze in Derek Jarman’s adaptation in 1979, it was seen that the text was rewritten with a feminist discourse and narrative in Julie Taymor’s adaptation.

Kaynakça

  • Abbasi, P., & Saeedi, A. (2014). On The Postmodernist Elements in Shakespeare’s The Tempest. Epiphany, 7(1).
  • Appignanesi, R. & Garratt, C. (1997). Introducing postmodernism: a graphic guide.
  • Arriola, J. L. (2006). Postmodern Filming of Literature: Sources, Contexts, and Adaptations. UST Publishing House.
  • Barker, F. & Hulme, P. (1985). Nymphs and reapers heavily vanish: the discursive con-texts of The Tempest.
  • Baudrillard, J. (1988). Selected Writings. California: Stanford University Press.
  • Best, S. & Kellner, D. (1991). Postmodern Theory: Critical Interrogations. New York: Guilford.
  • Boggs, C. & Pollard, T. (2003). A World in Chaos: Social Crisis and The Rise of Postmodern Cinema. Rowman & Littlefield Publishers.
  • Booker, M. K. (2007). Postmodern Hollywood: What’s new in film and why it makes us feel so strange. Greenwood Publishing Group.
  • Brunsting, J.(2012). Joshua Revıews Derek Jarman’s The Tempest [Blu-Ray Revıew], https://criterioncast.com/reviews/joshua-reviews-derek-jarmans-the-tempest-blu-ray-review
  • Clemens, W. H. (1951). The Development of Shakespeare’s Imagery. New York: A Drama Book.
  • Cohen, W. (1987). Political criticism of Shakespeare. Shakespeare Reproduced: The text in history and ideology, 18-46.
  • Creswell, J. W. (2007). Qualitative İnquiry & Research Design: Choosing Among Five Approaches. USA: SAGE Publications.
  • Davis, Hugh H. (2013). Rounded With a Sleep: Prospero’s Dream in Derek Jarman’s The Tempest. Literature Film Quarterly. 41 (2): 92–101.
  • Denzin, N. K. (1991). Images of Postmodern Society: Social Theory and Contemporary Cinema (Vol. 11). Sage.
  • Ellis, J. (2001). Conjuring The Tempest: Derek Jarman and the Spectacle of Redemption. GLQ: A Journal of Lesbian and Gay Studies. 7 (2): 265–284.
  • Frank, T. (1998). The Conquest Of Cool: Business Culture, Counterculture, and The Rise of Hip Consumerism. University of Chicago Press.
  • Garber, M. (2005). Shakespeare After All. New York: Anchor Books.
  • Gompertz, W. (2016). Why is Shakespeare more popular than ever? BBC News. https://www.bbc.com/news/magazine-36114485.
  • Grady, H. (1991). The Modernist Shakespeare: Critical Texts in a Material World. Oxford: Clarendon.
  • Habermas, J. (1983). Modernity–An Incomplete Project. In The Anti-Aesthetic. Port Townsend.
  • Hancock, R.D. & Algozzine, B. (2006). Doing Case Study Research. New York: Teachers College Press.
  • Hassan, I. (1982). The Dismemberment of Orpheus: Toward a Postmodern Literature. Univ of Wisconsin Press.
  • Hawkes, T. (1992). Meaning by Shakespeare. Routledge. London and New York.
  • Jameson, F. (1991). Postmodernism, or, the Cultural Logic of Late Capitalism. Duke university press.
  • Jencks, C. (1977). The Language Of Post-Modern Architecture (Vol. 19771). New York: Rizzoli.
  • Jencks, C. (1987). Postmodern and late modern: The essential definitions. Chicago Review 35.(4). 31-58.
  • Corbusier, L. (1995). Vers Une Architecture. Paris: Flammarion.
  • Lindbergs, K. (2011). Radical Shakespeare: The Alchemy of Derek Jarman’s “The Tempest” https://cinebeats.wordpress.com/2011/11/01/radical-shakespeare-the-alchemy-of-derek-jarmans-the-tempest/.
  • Lyotard, J. F. (1984). The Postmodern Condition: a Report on Knowledge (Vol. 10). U of Minnesota Press.
  • Merriam, S. (1988). Case Study Research in Education: a Qualitative Approach. San Francisco: Jossey-Bass.
  • Morris, N. (2016). The Spell of the Tempest: Derek Jarman Designs. https://www2.bfi.org.uk/news-opinion/news-bfi/features/spell-tempest-derek-jarman-designs
  • Orgel, S., (1987). The Tempest. By William Shakespeare. Oxford: Oxford University Press. 1-87.
  • Partridge, E. (2019). Shakespeare’s Bawdy. Routledge.
  • Peter, E. (2020). Shakespeare’s Vivid Presence in the Age of Postmodernity. Postmodern Openings, 11(3), 303-317.
  • Sandler, I. (1997). Art of the Postmodern Era: from the Late 1960s to the Early 1990s. Routledge.
  • Schwarzmantel, J. (1998). The Age of İdeology: Political İdeologies from the American Revolution to Postmodern Times. NYU Press.
  • Shakespeare, W. (1995). The Tempest, Penguin Classic Series.
  • Shakespeare, W. (1997a). Othello, The Moor of Venice. In The Complete Works of William Shakespeare. (pp. 818 - 857). Wordsworth Editions Ltd.
  • Shakespeare, W. (1997b). The Merchant of Venice. In The Complete Works of William Shakespeare. (pp. 388 - 415). Wordsworth Editions Ltd. Shakespeare, W. (1997c). The Tempest. In The Complete Works of William Shakespeare. (pp. 1135 - 1159). Wordsworth Editions Ltd.
  • Shakespeare, W. (1997d). Titus Andronicus. In The Complete Works of William Shakespeare. (pp. 139 - 165). Wordsworth Editions Ltd.
  • Thompson, A. (1995). ‘Miranda, Where’s Your Sister’: Reading Shakespeare’s The Tempest. 168-77.
  • Valdivieso, S. M. (1998). Double Erasure in The Tempest: Miranda in Postmodern Critical Discourse. SEDERI: yearbook of the Spanish and Portuguese Society for English Renaissance Studies, (9), 299-304.
  • Yin, R. (1984). Case Study Research: Design and Methods. California: Sage Publications.
  • Yoshino, K. (2011). A thousand Times More Fair: What Shakespeare’s Plays Teach Us About Justice. Harper Collins Publishers.
Toplam 44 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular İletişim ve Medya Çalışmaları
Bölüm Makaleler
Yazarlar

Emir Orhan Kılıç 0000-0002-9671-1995

Ezgi Çakır 0000-0002-6910-3417

Yayımlanma Tarihi 25 Aralık 2021
Yayımlandığı Sayı Yıl 2021

Kaynak Göster

APA Kılıç, E. O., & Çakır, E. (2021). Rewriting Shakespeare: Discussing Postmodern Drama Elements in Two Feature Film Adaptations of William Shakespeare’s play “The Tempest”. SineFilozofi, 6(12), 1098-1115. https://doi.org/10.31122/sinefilozofi.980803