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

作業(yè)

書目名稱Bollywood Shakespeares影響因子(影響力)




書目名稱Bollywood Shakespeares影響因子(影響力)學(xué)科排名




書目名稱Bollywood Shakespeares網(wǎng)絡(luò)公開度




書目名稱Bollywood Shakespeares網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Bollywood Shakespeares被引頻次




書目名稱Bollywood Shakespeares被引頻次學(xué)科排名




書目名稱Bollywood Shakespeares年度引用




書目名稱Bollywood Shakespeares年度引用學(xué)科排名




書目名稱Bollywood Shakespeares讀者反饋




書目名稱Bollywood Shakespeares讀者反饋學(xué)科排名

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,Die Dosimetrie der R?ntgenstrahlen,... 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 “l(fā)ooped” 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

建筑師

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

抵制

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