%0 Journal Article
%T Szekspir współczesny  i (po)nowoczesny. Ekranizacja jako historyczna dekonstrukcja dramatu (O książce Olgi Katafiasz  Shakespeare i kino. Strategie adaptacyjne i ich konteksty społeczno-kulturowe)
%A Fazan, Katarzyna
%J Wielogłos
%V 2014
%R 10.4467/2084395XWI.14.017.2241
%N Numer 1 (19) 2014: Henryk Markiewicz - człowiek i uczony
%P 119-124
%K Shakespeare William, dramat, film, polityka, historia, dekonstrukcja
%@ 1897-1962
%D 2014
%U https://ejournals.eu/czasopismo/wieloglos/artykul/szekspir-wspolczesny-i-po-nowoczesny-ekranizacja-jako-historyczna-dekonstrukcja-dramatu-o-ksiazce-olgi-katafiasz-shakespeare-i-kino-strategie-adaptacyjne-i-ich-konteksty-spoleczno-kulturowe
%X 
	Contemporary and postmodern Shakespeare. Film as historical deconstruction of drama
	The article is a review of the book: Shakespeare and Cinema. Adaptation Strategies and their Socio-Cultural Contexts (Shakespeare i kino. Strategie adaptacyjne i ich konteksty społeczno-kulturowe) by Olga Katafiasz. In this book the Author analysis 28 chosen film version of Shakespeare dramas adopted by famous directors in 1935–2011. Katafiasz examines especially strategies of adaptations reading in esthetical, political and historical dimensions. The article refers to order of the book which was determined mainly by chronology and begins with Max Reinhardt’s and William Dieterle’s A Midsummer Night’s Dream (1935); then analyses the  adaptation strategies prevailing in movies directed by: Laurence Olivier, Orson Welles, Grigorij Kozincev, Akira Kurosawa, Roman Polański, Kenneth Branagh, Peter Greenaway, Richard Loncraine, Baz Luhrmann, Julie Taymor, Ralph Fiennes and Michael Radford; Ernst Lubitsch’s To Be or Not to Be (1942) and Alan Johnson’s To Be or Not to Be (1983). The review discusses (among others) the methodology of the book based on Harold Bloom’s idea  so called: ‘the anxiety of influence’, accompanying – as suggests Katafiasz – the creativeprocess of film based on Shakespeare’s plays.