Titlebook: Bollywood Shakespeares; Craig Dionne (professor of Literary and Cultural T Book 2014 Craig Dionne and Parmita Kapadia 2014 cinema.essay.fi

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书目名称Bollywood Shakespeares影响因子(影响力)




书目名称Bollywood Shakespeares影响因子(影响力)学科排名




书目名称Bollywood Shakespeares网络公开度




书目名称Bollywood Shakespeares网络公开度学科排名




书目名称Bollywood Shakespeares被引频次




书目名称Bollywood Shakespeares被引频次学科排名




书目名称Bollywood Shakespeares年度引用




书目名称Bollywood Shakespeares年度引用学科排名




书目名称Bollywood Shakespeares读者反馈




书目名称Bollywood Shakespeares读者反馈学科排名

闪光你我

,Die Dosimetrie der Röntgenstrahlen,... Adaptation has long been considered acceptable in Indian artistic traditions, and is perceived neither as indicative of an embarrassing lack of “originality,” nor as transgressive or revisionary. Discussing the history of Shakespearean performance in India, Poonam Trivedi points out that in the

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FLIT

https://doi.org/10.1007/978-3-642-47822-2wer as a song or fragments of a song,” offering examples of the use of tunes from one film in a separate film, creating an extradiegetic musical world that encompasses both the characters of the films and audience members. .

繁忙

JEER

Shakespeare and Bollywood: The Difference a World Makesdescribe the uncanny feel of the music due to its being sung offstage in a sound stage and “looped” into the performance, you might say “the music seems altogether metatextual, different performers whose popular songs are stitched—or ‘synched’—into the story in a way that provides a frame for the na

opprobrious

The Global as Local/Othello as Omkara... Adaptation has long been considered acceptable in Indian artistic traditions, and is perceived neither as indicative of an embarrassing lack of “originality,” nor as transgressive or revisionary. Discussing the history of Shakespearean performance in India, Poonam Trivedi points out that in the

建筑师

Interrogating “Bollywood Shakespeare”: Reading Rituparno Ghosh’s tragedies, like Vishal Bhardwaj’s . and . (discussed in the previous section of this volume). These distinct kinds of filmic engagement with Shakespeare are posited on different understandings of the bard’s Indian legacy and the politics of adaptation and appropriation. Further, they suggest differ

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The Sounds of India in Supple’s wer as a song or fragments of a song,” offering examples of the use of tunes from one film in a separate film, creating an extradiegetic musical world that encompasses both the characters of the films and audience members. .

spondylosis

Afterword: Shakespeare and Bollywoodsign of the times—to negotiate and legitimize this in academic discourse is the task of this collection. While Shakespeare on film has been the fastest growing branch of Shakespeare studies, this is the first time that it has been extended to encompass, in a book length study, another equally fast g