Trendy or topical? Sexual politics and panopticism in the 2016 BBC Midsummer Night's Dream.
The 2016 BBC television production of A Midsummer Night's Dream (directed by David Kerr) illustrates that the provocative representation of gender issues, commented on by most reviewers, effectively overshadowed the film's real topicality: its depiction of a tightly controlling post-panoptic regime,...
| Publicado en: | Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies Vol. 99; no. 1; pp. 137 - 147 |
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| Autores principales: | , , |
| Formato: | Artículo |
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Sage Publications Inc.
Jul2019
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=137680455&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 137680455 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01847678 TBV jtl: Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies issn: 01847678 maglogo: Y pubinfo: dt: Jul2019 vid: 99 iid: 1 pid: 344 pub: Sage Publications Inc. artinfo: ui: 137680455 10.1177/0184767819835553 ppf: 137 ppct: 10 formats: tig: atl: Trendy or topical? Sexual politics and panopticism in the 2016 BBC Midsummer Night's Dream. aug: au: Földváry, Kinga Kapitaniak, Pierre Sakowska, Aleksandra affil: Pázmány Péter Catholic University su: Midsummer Night's Dream, A (Book) Kerr, David Political corruption Visual programming languages (Computer science) Practical politics Couples sug: subj: Midsummer Night's Dream, A (Book) Kerr, David Political corruption Visual programming languages (Computer science) Practical politics Couples keyword: A Midsummer Night's Dream actualité adaptation gender genre Le Songe d'une nuit d'été post-panopticism post-panoptique Shakespeare topicality ab: The 2016 BBC television production of A Midsummer Night's Dream (directed by David Kerr) illustrates that the provocative representation of gender issues, commented on by most reviewers, effectively overshadowed the film's real topicality: its depiction of a tightly controlling post-panoptic regime, relying on technological surveillance systems, in which observed and observer are equally implicated. However, the film's spectacular visuality and the liberal gender politics of the adaptation, which are all but compulsory in contemporary theatrical adaptations, have allowed viewers to focus on the carnivalesque comedy of the finale, rather than the darker undertones of its social criticism. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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