Digital Shakespeare

The present article seeks to provide a comprehensive annotated guide to the publications related to the field of Shakespeare on Screen for the period 2002-16. Conceived as an update to two articles previously published in The European English Messenger, its entries have been classified and annotated in four categories: the first section includes a list of bibliographies, filmographies and databases; the second features monographs and collections of essays focusing exclusively or substantially on the subject whereas the third deals with representative journals and specific journal issues. Published screenplays and other works on the making of the films are listed in the fourth section. A thoroughly revised, expanded and updated versión was published in the French journal Cahiers Élisabéthains in a special issue on Shakespeare on screen in the digital era (2021).

https://luminarydigitalmedia.com/index.php/team      ////// 



The Tempest for iPad is a collaboration of scholars from the US and Europe. This interactive Shakespeare “edition” is designed to be generative. The reading process is social rather than solitary. Readers can choose the experts that meet their interests. Readers can share their notes in real time and create their own play text—enhanced by illustrations, podcasts, and videos.

As more big data and “born digital” works become available, and as new methods of distant and close reading cultural texts continue to emerge, what will become of the humanities? As data visualization and dynamic audio/visual material compete for prominence with text-centric digital editions, what are the challenges to Shakespeare studies and digital humanities?

    The global reach of digital Shakespeares are both a blessing and a curse, prompting practitioners and users of digital humanities tools and projects to launch bold experiments, to employ digital Shakespeares as a form of pedagogical and political intervention, and to re-think the mediated relationship between an audience and a text. As editors we are acutely aware of the fact that the cluster of studies of digital Shakespeares may become obsolete within a relatively short period of time due to theoretical and technological advancements. If so, our job is done.

The digital archive is a valuable mnemonic device to preserve ephemeral experiences, but the archiving process will always introduce frictions between embodied (live) and disembodied (recorded) performances. In constructing a privileged relation to our past, the archive as a repository of artifacts and meanings has a dialectical relation to historical knowledge. The video archive provides multiple pathways to the theatrical experience, but it also manifests ways of knowing that experience.

A Year of Shakespeare offers in print the online responses and reviews from an impressive range of Shakespeare scholars to the World Shakespeare Festival arranged to celebrate the Olympics in 2012.

My contributions review the BBC's adaptations of Richard II and Henry V for the Hollow Crown, and the Balkan Trilogy at the Globe comprising of Henry VI Part One by the National Theatre Belgrade, Henry VI Part Two by the National Theatre of Albania, and Henry VI Part Three by the National Theatre of Bitola.