Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-5g6vh Total loading time: 0 Render date: 2024-04-28T10:17:46.039Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  29 June 2017

Jennifer Barnes
Affiliation:
University of Dundee
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Shakespearean Star
Laurence Olivier and National Cinema
, pp. 195 - 211
Publisher: Cambridge University Press
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Aebischer, Pascale, ‘Shakespeare, Sex and Violence: Negotiating Masculinities in Branagh’s Henry V and Taymor’s Titus’, in Henderson, (ed.), Shakespeare on Screen, pp. 112–33Google Scholar
Aebischer, Pascale, Shakespeare’s Violated Bodies: Stage and Screen Performance (Cambridge University Press, 2004)Google Scholar
Adams, Timothy Dow, Light Writing and Life Writing: Photography in Autobiography (Chapel Hill: University of North Carolina Press, 2000)Google Scholar
Agate, James, A Shorter Ego, vol. iii: Ego 7, Ego 8, Ego 9 (London: George G. Harrap, 1949)Google Scholar
Aldgate, Anthony, and Richards, Jeffrey, Britain Can Take It: British Cinema in the Second World War (London: I.B. Tauris, 2007)CrossRefGoogle Scholar
Altman, Joel B., ‘“Vile Participation’: The Amplification of Violence in the Theater of Henry V’, Shakespeare Quarterly, 42/1 (1991), 132Google Scholar
Amossy, Ruth, ‘Autobiographies of Movie Stars: Presentation of Self and its Strategies’, Poetics Today, 7/4 (1986), 673703Google Scholar
Anderegg, Michael, Cinematic Shakespeare (Oxford: Rowman & Littlefield, 2004)Google Scholar
Anderegg, Michael, Orson Welles, Shakespeare and Popular Culture (New York: Columbia University Press, 1999)Google Scholar
Anderson, Benedict, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 2006)Google Scholar
Anderson, Linda, Autobiography, 2nd edn (London: Routledge, 2011)Google Scholar
Andrews, Christopher, ‘Richard III on Film: The Subversion of the Viewer’, Literature/Film Quarterly, 28 (2000), 8294Google Scholar
Ashley, Kathleen, Gilmore, Leigh and Peters, Gerald (eds.), Autobiography and Postmodernism (Amherst: University of Massachusetts Press, 1994)Google Scholar
Aston, Elaine, ‘Feminist Performance as Archive’, in Barrett, Michèle and Baker, Bobby (eds.), Bobby Baker: Redeeming Features of Daily Life (Oxford: Routledge, 2007)Google Scholar
Auslander, Philip, Liveness: Performance in a Mediatized Culture (London: Routledge, 1999)Google Scholar
Auslander, Philip, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28/3 (2006), 110Google Scholar
Babington, Bruce (ed.), British Stars and Stardom: From Alma Taylor to Sean Connery (Manchester University Press, 2001)Google Scholar
Balcon, Michael, ‘Realism and Tinsel’ (1943), in Danischewsky, Monja (ed.), Michael Balcon’s 25 Years in Films (London: World Film Publications, 1947), pp. 6673Google Scholar
Barker, Clive, and Gale, Maggie B. (eds.), British Theatre Between the Wars, 1918–1939 (Cambridge University Press, 2000)Google Scholar
Barker, Felix, The Oliviers (London: Hamish Hamilton, 1953)Google Scholar
Barker, Francis, The Tremulous Private Body: Essays on Subjection (New York: Methuen, 1984)Google Scholar
Barnes, Jennifer. ‘Laurence Olivier’s Macbeth manuscripts in 1958 and 2012’, Shakespeare Bulletin, 30/3(2012), 263–97CrossRefGoogle Scholar
Barr, Charles, Ealing Studios (London: University of California Press, 1977)Google Scholar
Barr, Charles, (ed.), All Our Yesterdays: 90 Years of British Cinema (London: BFI, 1986)Google Scholar
Bartholomeusz, Dennis, Macbeth and the Players (Cambridge University Press, 1969)Google Scholar
Bate, Jonathan, Shakespearean Constitutions: Politics, Theatre, Criticism 1730–1830 (Oxford: Clarendon Press, 1989)Google Scholar
Beauchamp, Gorman, ‘“Henry V”: Myth, Movie, Play’, College Literature, 5/3 (1978), 228–38Google Scholar
Bennett, Susan, Performing Nostalgia: Shifting Shakespeare and the Contemporary Past (London: Routledge, 1996)Google Scholar
Board of Trade, Tendencies to Monopoly in the Cinematograph Industry (London: HMSO, 1944)Google Scholar
Boose, Lynda, and Burt, Richard (eds.), Shakespeare the Movie II: Popularising the Plays on Film, TV and DVD (London: Routledge, 2003)Google Scholar
Bragg, Melvyn, Laurence Olivier (London: Hutchinson, 1984)Google Scholar
Braudy, Leo, The World in a Frame: What We See in Films, 25th anniversary edn (University of Chicago Press, 2002)Google Scholar
Breitenberg, Mark, Anxious Masculinity in Early Modern England (Cambridge University Press, 1996)Google Scholar
Bristol, Michael D., Big-Time Shakespeare (London: Routledge, 1996)Google Scholar
Brode, Douglas, Shakespeare in the Movies: From the Silent Era to Shakespeare in Love (Oxford University Press, 2000)Google Scholar
Brown, Constance A., ‘Olivier’s Richard III: A Re-evaluation’, Film Quarterly, 20/4 (1967), 2332Google Scholar
Bruss, Elizabeth W., ‘Eye for I: Making and Unmaking Autobiography in Film’, in Olney, James (ed.), Autobiography: Essays Theoretical and Critical (Princeton University Press, 1980)Google Scholar
Buchanan, Judith, ‘“Like this insubstantial pageant faded”: Michael Powell’s The Tempest’, Film Studies, 1/2 (2000), 7980Google Scholar
Buchanan, Judith, Shakespeare on Film (Essex: Pearson Education, 2005)Google Scholar
Buhler, Stephen, Shakespeare in the Cinema: Ocular Proof (New York: SUNY Press, 2002)Google Scholar
Burnett, Mark Thornton, Filming Shakespeare in the Global Marketplace (Basingstoke: Palgrave Macmillan, 2007)Google Scholar
Burnett, Mark Thornton, and Wray, Ramona (eds.), Screening Shakespeare in the Twenty-First Century (Edinburgh University Press, 2006)Google Scholar
Burrows, Jon, Legitimate Cinema: Theatre Stars in Silent British Films 1908–1918 (University of Exeter Press, 2003)Google Scholar
Burton, Hal (ed.), Great Acting (London: BBC, 1967)Google Scholar
Cahir, Linda Constanzo, Literature into Film: Theory and Practical Approaches (Jefferson, NC: McFarland, 2006)Google Scholar
Cameron, Keith (ed.), National Identity (Exeter: Intellect Books, 1999)Google Scholar
Carlson, Marvin, The Haunted Stage: The Theatre as Memory Machine (Ann Arbor: University of Michigan Press, 2003)Google Scholar
Cartelli, Thomas, and Rowe, Katherine (eds.), New Wave Shakespeare on Screen (Cambridge: Polity Press, 2007)Google Scholar
Cartmell, Deborah, Interpreting Shakespeare on Screen (London: Macmillan, 2000)Google Scholar
Cartmell, Deborah, ‘Theater on Film and Film on Theater in Hamlet’, in Fotheringham, Richard, Jansohn, Christa and White, R.S. (eds.), Shakespeare’s World, World Shakespeares (Newark: University of Delaware Press, 2008), pp. 171–82Google Scholar
Cartmell, Deborah, Hunter, I.Q. and Whelehan, Imelda (eds.), Retrovisions: Reinventing the Past in Film and Fiction (London: Pluto Press, 2001)Google Scholar
Casey, Jim, ‘“Richard’s Himself Again”: The Body of Richard III on Stage and Screen’, in Driver, Martha W. and Ray, Sid (eds.), Shakespeare and the Middle Ages: Essays on the Performance and Adaptation of the Plays with Medieval Sources or Settings (Jefferson, NC: McFarland, 2009), pp. 2749Google Scholar
Caughie, John (ed.), Theories of Authorship: A Reader (London: Routledge, 1981)Google Scholar
Chapman, James, ‘Cry God for Larry, England and St George: Henry V (1944)’, Past and Present: National Identity in the British Historical Film (London: I.B. Tauris, 2005), pp. 113–42Google Scholar
Chapman, James, Past and Present: National Identity in the British Historical Film (London: I.B. Tauris, 2005)Google Scholar
Chapman, James, War and Film (London: Reaktion, 2008)Google Scholar
Charnes, Linda, ‘Dismember Me: Shakespeare, Paranoia, and the Logic of Mass Culture’, Shakespeare Quarterly, 48/1 (1997), 116Google Scholar
Chernaik, Warren, ‘The Death of Bardolph: Branagh and Olivier rewrite Henry V’, in Hatchuel, and Vienne-Guerrin, (eds.), Shakespeare on Screen: The Henriad, pp. 157–69Google Scholar
Christopher, Nicholas, Somewhere in the Night: Film Noir and the American City (New York: Simon & Schuster, 1997)Google Scholar
Cohen, Steve, and Hark, Ina Rae (eds.), Screening the Male: Exploring Masculinities in Hollywood Cinema (London: Routledge, 1993)Google Scholar
Coleman, Terry, Olivier (London: Bloomsbury, 2005)Google Scholar
Colley, Linda, ‘Shakespeare and the Limits of National Culture’, Lecture, Hayes Robinson Lecture Series No. 2, Royal Holloway, University of London, Egham, Surrey (3 March 1998)Google Scholar
Collick, John, Shakespeare, Cinema and Society (Manchester University Press, 1989)Google Scholar
Cook, Patrick J., Cinematic Hamlet: The Films of Olivier, Zeffirelli, Branagh and Almereyda (Athens: Ohio University Press, 2010)Google Scholar
Corbett, Mary Jean, ‘Performing Identities: Actresses and Autobiography’, Biography, 24/1 (2001), 1523Google Scholar
Cottrell, John, Laurence Olivier (London: Weidenfeld & Nicolson, 1975)Google Scholar
Coursen, Herbert R., Shakespeare: The Two Traditions (London: Associated University Presses, 1999)Google Scholar
Cross, Brenda (ed.), The Film Hamlet: A Record of its Production, 3rd edn (London: Saturn Press, 1948)Google Scholar
Crowl, Samuel, The Films of Kenneth Branagh (Westport, CT: Praeger, 2006)Google Scholar
Dalrymple, Ian, ‘Alexander Korda’, The Quarterly of Film, Radio and Television, 11/3 (1957), 294309Google Scholar
Daniels, Robert L., Laurence Olivier: Theater and Cinema (London: Tantivy Press, 1980)Google Scholar
Darlington, W.A., Great Contemporaries: Laurence Olivier (London: Morgan Grampian, 1968)Google Scholar
Davies, Andrew, ‘The War Years’, in Balfour, Michael (ed.), Theatre and War 1933–1945: Performance in Extremis (Oxford and NewYork: Berghahn, 2001), pp. 5465Google Scholar
Davies, Anthony, Filming Shakespeare’s Plays: The Adaptations of Laurence Olivier, Peter Brook and Akira Kurosawa (Cambridge University Press, 1988)Google Scholar
Davies, Anthony, and Wells, Stanley (eds.), Shakespeare and the Moving Image: The Plays on Film and Television (Cambridge University Press, 1994)Google Scholar
Dawson, Anthony B., Shakespeare in Performance: Hamlet (Manchester University Press, 1995)Google Scholar
Dawson, Anthony B., and Yachnin, Paul, The Culture of Playgoing in Shakespeare’s England (Cambridge University Press, 2001)Google Scholar
Day, Gillian M., ‘Determination and Proof: Colley Cibber and the Materialization of Shakespeare’s Richard III in the Twentieth Century’, in Davis, Lloyd (ed.), Shakespeare Matters: History, Teaching, Performance (Newark: University of Delaware Press, 2003), pp. 266–76Google Scholar
de Grazia, Victoria, ‘Mass Culture and Sovereignty: The American Challenge to European Cinemas, 1920–1960’, Journal of Modern History, 62/1 (1989), 5387Google Scholar
de Grazia, Margreta, Hamlet Without Hamlet (Cambridge University Press, 2007)Google Scholar
de Man, Paul, ‘Autobiography as De-facement’, MLN, 94 (1979), 919–30Google Scholar
Dent, Alan (ed.), Hamlet: The Film and the Play (London: World Film Productions, 1948)Google Scholar
Desmet, Christy, ‘Introduction’, in Desmet, Christy and Sawyer, Robert (eds.), Shakespeare and Appropriation (London: Routledge, 1999), pp. 115Google Scholar
Dickinson, Margaret, and Street, Sarah, Cinema and State: The Film Industry and the British Government 1927–84 (London: BFI, 1985)Google Scholar
Doane, Mary Ann, ‘The Voice in the Cinema: The Articulation of Body and Space’, Yale French Studies, 60 (1980), 3350Google Scholar
Dobson, Michael, The Making of the National Poet (Oxford University Press, 1992)Google Scholar
Dollimore, Jonathan, and Sinfield, Alan (eds.), Political Shakespeare: Essays in Cultural Materialism, 2nd edn (Manchester University Press, 1994)Google Scholar
Donaldson, Peter, ‘Olivier, Hamlet and Freud’, Cinema Journal, 26/4 (1987), 2248Google Scholar
Donaldson, Peter, Shakespearian Films, Shakespearian Directors (New York: Unwin Hyman, 1990)Google Scholar
Donaldson, Peter, ‘Taking on Shakespeare: Kenneth Branagh’s “Henry V”’, Shakespeare Quarterly, 42/1 (1991), 6071Google Scholar
Drazin, Charles, The Finest Years: British Cinema of the 1940s (London: André Deutsch, 1998)Google Scholar
Dyer, Richard, ‘Charisma’, in Gledhill, Christine (ed.), Stardom: Industry of Desire (London: Routledge, 1991), pp. 57107Google Scholar
Dyer, Richard, Heavenly Bodies: Film Stars and Society (London: Routledge, 2004)Google Scholar
Dyer, Richard, ‘A Star is Born and the Construction of Authenticity’, in Gledhill, Christine (ed.), Stardom: Industry of Desire (London: Routledge, 1991), pp. 132–41Google Scholar
Dyer, Richard, Stars (London: BFI, 1998)Google Scholar
Eagleton, Terry, ‘Afterword’, in Holderness, Graham (ed.), The Shakespeare Myth (Manchester University Press, 1998), pp. 203–8Google Scholar
Eakin, Paul John, How Our Lives Become Stories: Making Selves (Ithaca, NY: Cornell University Press, 1990)Google Scholar
Eakin, Paul John, Touching the World: Reference in Autobiography (Oxford University Press, 1992)Google Scholar
Edwards, Ann, Vivien Leigh (New York: Pocket Books, 1978)Google Scholar
Elsom, John, Postwar British Theatre (London: Routledge, 1976)Google Scholar
Elsom, John, and Tomalin, Nicolas, The History of the National Theatre (London: Cape, 1978)Google Scholar
Enwezor, Okwui, Archive Fever: Uses of the Document in Contemporary Art (New York: International Center of Photography, 2008)Google Scholar
Fernie, Ewan, Wray, Ramona, Burnett, Mark Thornton and McManus, Claire (eds.), Reconceiving the Renaissance: A Critical Reader (Oxford University Press, 2005)Google Scholar
Findlater, Richard (ed.), At the Royal Court (Derbyshire: Amber Lane Press, 1981)Google Scholar
Fossati, Giovanna, From Grain to Pixel: The Archival Life of Film in Transition (Amsterdam University Press, 2009)Google Scholar
Frayn, Michael, ‘Festival’ (1963), in Sissons, Michael and French, Philip (eds.), Age of Austerity 1945–1951 (London: Hodder & Stoughton, 1963), pp. 330–52Google Scholar
Gamm, Kate, and Clark, Vivienne (eds.), Teaching World Cinema (London: BFI Education, 2004)Google Scholar
Garber, Marjorie, ‘Shakespeare as Fetish’, Symptoms of Culture (New York: Routledge, 1998), pp. 167–78Google Scholar
Garber, Marjorie, Shakespeare’s Ghost Writers (New York: Methuen, 1987)Google Scholar
Geraghty, Christine, ‘Re-examining Stardom: Questions of Texts, Bodies and Performance’, in Gledhill, Christine and Williams, Linda (eds.), Reinventing Film Studies (London: Arnold, 2000), 183201Google Scholar
Gernalzick, Nadia, ‘To Act or to Perform: Distinguishing Filmic Autobiography’, Biography, 29/1 (2006), 112Google Scholar
Gibson, Melissa Dana, ‘“Himself Again”: Richard III on the London Stage in the 1980s’, New England Theatre Journal, 12 (2001), 193–62Google Scholar
Giddings, Robert, ‘A Tale of Two Cities and the Cold War’, in Mckillop, and Sinyard, (eds.), British Cinema of the 1950s, pp. 68175Google Scholar
Gildon, Charles, The Life of Mr. Thomas Betterton (London: Robert Gosling, 1710)Google Scholar
Gilmore, David D., Manhood in the Making: Cultural Concepts of Masculinity (New Haven, CT: Yale University Press, 1991)Google Scholar
Gilmore, Leigh, ‘Autobiographics’, in Smith, and Watson, (eds.), Women, Autobiography, Theory, pp. 183–9Google Scholar
Gilmore, Leigh, The Limits of Autobiography: Trauma and Testimony (Ithaca, NY: Cornell University Press, 2001)Google Scholar
Gilmore, Leigh, ‘Policing Truth’, in Ashley, , Gilmore, and Peters, (eds.), Autobiography and Postmodernism, pp. 5477Google Scholar
Glancy, Mark, ‘“What would Bette Davis do?” British Reactions to Bette Davis in the 1940s: A Case Study of Now Voyager’, Screen, 49/1 (2008), 7785Google Scholar
Goffman, Erving, The Presentation of Self in Everyday Life (London: Penguin, 1990)Google Scholar
Gough-Yates, Kevin, ‘Jews and Exiles in British Cinema’, Leo Baeck Institute Year Book, 37 (1992), 517–41Google Scholar
Grace, Sherrill, ‘Performing the Auto/biographical Pact: Towards a Theory of Identity in Performance’, in Kadar, et al. (eds.), Tracing the Autobiographical, 6579Google Scholar
Green, London, ‘Edmund Kean’s Richard III, Theatre Journal, 36/4 (1984), 505–24Google Scholar
Gurr, Andrew, The Shakespearean Stage (Cambridge University Press, 1992)Google Scholar
Gurr, Andrew, Playgoing in Shakespeare’s London (Cambridge University Press, 1996)Google Scholar
Gutman, Huck, ‘Rousseau’s Confessions: A Technology of the Self’, in Martin, Luther H., Gutman, Huck and Hutton, Patrick H. (eds.), Technologies of the Self: A Seminar with Michael Foucault (Amherst: University of Massachusetts Press, 1988), pp. 99121Google Scholar
Harper, Sue, and Porter, Vincent, British Cinema of the 1950s: The Decline of Deference (Oxford University Press, 2003)Google Scholar
Harrison, Rex, Rex: A Memoir (New York: William Morrow, 1975)Google Scholar
Hartley, Andrew James, ‘Character, Agency and the Familiar Actor’, in Yachnin, and Slights, (eds.), Shakespeare and Character, pp. 158–76Google Scholar
Hartley, Andrew James, ‘Remembering the Actor: Embodied Shakespeare and the Individual in the Audience’, Shakespeare Bulletin, 25/3 (2007), 4151Google Scholar
Hatchuel, Sarah, ‘The Battle of Agincourt in Shakespeare’s, Laurence Olivier’s, Kenneth Branagh’s and Peter Babakitis’s Henry V’, in Hatchuel, and Vienne-Guerrin, (eds.), Shakespeare on Screen: The Henriad, pp. 193209Google Scholar
Hatchuel, Sarah, ‘“But did’st thou see them dead?”: Performing Death in Screen Adaptations of Richard III’, in Hatchuel, Sarah and Vienne-Guerrin, Nathalie (eds.), Shakespeare on Screen: Richard III (Rouen: Publications des Universités de Rouen, 2005), pp. 263–80Google Scholar
Hatchuel, Sarah, Shakespeare: From Stage to Screen (Cambridge University Press, 2004)Google Scholar
Hatchuel, Sarah, and Vienne-Guerrin, Nathalie (eds.), Shakespeare on Screen: The Henriad (Rouen: Publications des Universités de Rouen, 2008)Google Scholar
Haverty-Rugg, Linda, ‘Keaton’s Leap: Self-projection and Autobiography in Film’, Biography, 29/1 (2006), vxiiiGoogle Scholar
Hawkes, Terence, Meaning by Shakespeare (London: Routledge, 1992)Google Scholar
Heddon, Deirdre, Autobiography and Performance (Basingstoke: Palgrave Macmillan, 2008)Google Scholar
Hedrick, Donald K., ‘“War is Mud”: Branagh’s Dirty Harry V and the Types of Political Ambiguity’, in Boose, Lynda E. and Burt, Richard (eds.), Shakespeare the Movie: Popularising the Plays on Film and Television (London: Routledge, 1997), pp. 4668Google Scholar
Henderson, Diana (ed.), A Concise Companion to Shakespeare on Screen (Oxford: Blackwell, 2006)Google Scholar
Higson, Andrew, ‘The Concept of a National Cinema’, Screen, 30/4 (1989), 3647Google Scholar
Higson, Andrew, ‘The Limiting Imagination of National Cinema’, in Hjort, Mette and Mackenzie, Scott (eds.), Cinema and Nation (London: Routledge, 2000), pp. 57100Google Scholar
Higson, Andrew, Waving the Flag: Constructing a National Cinema in Britain (Oxford University Press, 1995)Google Scholar
Hill, Derek, ‘A Writer’s Wave’, Sight and Sound, 29/2 (1960), 5660Google Scholar
Hill, John, Sex, Class and Realism: British Cinema 1956–1963 (London: BFI, 1986)Google Scholar
Hirsch, Foster, Laurence Olivier on Screen (Boston: Twayne, 1979)Google Scholar
Hobsbawm, Eric, and Ranger, Terence (eds.), The Invention of Tradition (Cambridge University Press, 1983)Google Scholar
Hodgdon, Barbara, ‘Photography, Theater, Mnemonics’, in Worthen, and Holland, (eds.), Theorizing Practice, pp. 88115Google Scholar
Hodgdon, Barbara, ‘Replicating Richard: Body Doubles, Body Politics’, Theatre Journal, 50/2 (1998), 207–25Google Scholar
Hodgdon, Barbara, ‘Shakespearean Stars: Stagings of Desire’, in Shaughnessy, Robert (ed.), Cambridge Companion to Shakespeare and Popular Culture (Cambridge University Press, 2007), pp. 4666Google Scholar
Hodgdon, Barbara, The Shakespeare Trade: Performances and Appropriations (Philadelphia: University of Pennsylvania Press, 1998)Google Scholar
Hodgdon, Barbara, ‘Spectacular Bodies: Acting + Cinema + Shakespeare’, in Henderson, (ed.) Shakespeare on Screen, pp. 96111Google Scholar
Hodgdon, Barbara, ‘Two King Lears: Uncovering the Film Text’, Literature and Film Quarterly, 11/3 (1983), 143151Google Scholar
Hoenselaars, Ton, ‘“Out-Ranting the Enemy Leader”: Henry V and/as World War II Propaganda’, in D’haen, Theo, Liebregts, Peter and Tiggs, Wim (eds.), Configuring Romanticism: Essays offered to C.C. Barefoot (New York: Rodopi, 2003), pp. 215–35Google Scholar
Hoenselaars, Ton, ‘Shooting the Hero: The Cinematic Career of Henry V from Laurence Olivier to Philip Purser’, in Massai, Sonia (ed.), World-Wide Shakespeares: Local Appropriations in Films and Performance (Oxford: Routledge, 2005), pp. 80–8Google Scholar
Holden, Anthony, Olivier (London: Sphere, 1988)Google Scholar
Holderness, Graham, ‘Agincourt, 1944’, in Humm, Peter, Stigent, Paul and Widdowson, Peter (eds.), Popular Fictions: Essays in Literature and History (London: Methuen, 1986), 173–96Google Scholar
Holderness, Graham, Cultural Shakespeare: Essays in the Shakespeare Myth (Hatfield: University of Hertfordshire Press, 2002)Google Scholar
Holderness, Graham, ‘Shakespeareland’, in Maley, Willy and Tudeau-Clayton, Margaret (eds.), This England, That Shakespeare: New Angles on Englishness and the Bard (Aldershot: Ashgate, 2010), pp. 201–21Google Scholar
Holderness, Graham, Visual Shakespeare: Essays in Film and Television (Hatfield: University of Hertfordshire Press, 2002)Google Scholar
Holderness, Graham, ‘“What ish my nation?”: Shakespeare and National Identities’, Textual Practice, 5/1 (1991), 8099CrossRefGoogle Scholar
Holderness, Graham, (ed.), The Shakespeare Myth (Manchester University Press, 1998)Google Scholar
Holland, Peter, ‘Shakespeare’s Two Bodies’, in Hodgdon, Barbara and Worthen, W.B. (eds.), A Companion to Shakespeare and Performance (Oxford: Blackwell, 2005), pp. 3657Google Scholar
Holland, Peter, ‘“Some of you may have seen him”: Laurence Olivier’s Celebrity’, in Luckhurst, Mary and Moody, Jane, Theatre and Celebrity in Britain 1660–2000 (Basingstoke: Palgrave Macmillan, 2005), pp. 214–29Google Scholar
Holland, Peter, (ed.), Shakespeare, Memory and Performance (Cambridge University Press, 2006)Google Scholar
Holmes, Jonathan, Merely Players? Actors’ Accounts of Performing Shakespeare (New York: Routledge, 2004)Google Scholar
Holmes, Su, ‘Looking at the Wider Picture on the Small Screen: Reconsidering British Television and Widescreen Cinema in the 1950s’, Quarterly Review of Film and Video, 21/2 (2004), 131–47Google Scholar
Holmes, Su, ‘Starring …. Dyer?: Revisiting Star Studies and Contemporary Celebrity Culture’, Westminster Papers in Communication and Culture, 2/2 (2005), 621Google Scholar
Hosking, Geoffrey, and Schöpflin, George (eds.), Myth and Nationhood (London: C. Hurst, 1997)Google Scholar
Howard, Jean E., and Rackin, Phyllis, Engendering a Nation: A Feminist Account of Shakespeare’s English Histories (London: Routledge, 1997)Google Scholar
Huang, Alexander, ‘Shakespeare, Performance and Autobiographical Interventions’, Shakespeare Bulletin, 24/2 (2006), 3147Google Scholar
Huntley, John, ‘British Film Music and World Markets’, Sight and Sound, 15/60 (1946), 135–6Google Scholar
Hutcheon, Linda, A Theory of Adaptation (New York: Routledge, 2006)Google Scholar
Hutton, Clayton C., Macbeth: The Making of the Film (London: Max Parrish, 1960)Google Scholar
Hutton, Clayton C., The Making of Henry V (London: Ernest J. Day, 1944)Google Scholar
Innes, Christopher, ‘Terence Rattigan: The Voice of the 1950s’, in Shellard, Dominic (ed.), British Theatre in the 1950s (Sheffield Academic Press, 2000), pp. 5364Google Scholar
Jackson, Russell, ‘Olivier’s Richard III: A Legend of the Crown – Among Other Stories’, in Hatchuel, Sarah and Vienne-Guerinn, Nathalie (eds.), Shakespeare on Screen: Richard III (Rouen: Publications de l’Université de Rouen, 2005), pp. 229–45Google Scholar
Jackson, Russell, (ed.), The Cambridge Companion to Shakespeare on Film (Cambridge University Press, 2000)Google Scholar
Jackson, Russell, (ed.), Shakespeare Films in the Making: Vision, Production and Reception (Cambridge University Press, 2007)Google Scholar
Jacobs, Dale, ‘Multimodal Constructions of Self: Autobiographical Comics and the Case of Joe Matt’s Peepshow’, Biography, 31/1 (2008), 5984Google Scholar
Jay, Paul, ‘Posing: Autobiography and the Subject of Photography’, in Ashley, , Gilmore, and Peters, (eds.), Autobiography and Postmodernism, pp. 190211Google Scholar
Jones, Ernest, Hamlet and Oedipus (New York: Doubleday Anchor, 1949)Google Scholar
Jorgens, Jack J., Shakespeare on Film (Bloomington: Indiana University Press, 1977)Google Scholar
Joughin, John J. (ed.), Shakespeare and National Culture (Manchester University Press, 1997)Google Scholar
Kadar, Marlene, Warley, Linda, Perrault, Jeanne and Egan, Susanna (eds.), Tracing the Autobiographical (Ontario: Wilfrid Laurier University Press, 2005)Google Scholar
Kennedy, Dennis, ‘Shakespeare Without his Language’, in Bulman, James C. (ed.), Shakespeare, Theory and Performance (London: Routledge, 1996), pp. 137–53Google Scholar
Keyishian, Harry, ‘Shakespeare and Movie Genre’, in Jackson, (ed.), Shakespeare on FilmGoogle Scholar
Kliman, Bernice W., Hamlet: Film, Television and Audio Performance (Rutherford, NJ: Fairleigh Dickinson Press, 1988)Google Scholar
Knight, Wilson G., The Olive and the Sword (London: Oxford University Press, 1944)Google Scholar
Knight, Wilson G., This Sceptred Isle: Shakespeare’s Message for England at War (Oxford: Basil Blackwell, 1940)Google Scholar
Krutnik, Frank, In A Lonely Street: Film Noir, Genre, Masculinity (London: Routledge, 1991)Google Scholar
Kulik, Karol, Alexander Korda: The Man Who Could Work Miracles (London: Virgin, 1975)Google Scholar
Lacey, Stephen, British Realist Theatre: The New Wave in its Context 1956–1965 (London: Routledge, 1995)Google Scholar
Lacey, Stephen, ‘Too theatrical by half? The Admirable Crichton and Look Back in Anger’, in Mckillop, and Sinyard, (eds.), British Cinema of the 1950s, pp. 157–67Google Scholar
Lacey, Stephen, ‘When was the Golden Age? Narratives of Loss and Decline: John Osborne, Arnold Wesker and Rodney Ackland’, in Luckhurst, Mary (ed.), A Companion to Modern British and Irish Drama, 1880–2005 (Oxford: Blackwell, 2006), pp. 164–75Google Scholar
Lawler, Steph, Identity: Sociological Perspectives (Cambridge: Polity Press, 2008)Google Scholar
Lehmann, Courtney, Shakespeare Remains: Theatre to Film, Early Modern to Postmodern (Ithaca, NY: Cornell University Press, 2002)Google Scholar
Lejeune, Phillippe, ‘The Autobiographical Contract’, in Todorov, Tzvetan (ed.), French Literary Theory Today: A Reader (Cambridge University Press, 1982), 192222Google Scholar
Lejeune, Phillippe, ‘The Autobiographical Pact’, trans. Leary, Katherine, in Eakin, Paul John (ed.), On Autobiography (Minneapolis: University of Minnesota Press, 1989), pp. 330Google Scholar
Lejeune, Phillippe, Le pacte autobiographique (Paris: Éditions du Seuil, 1975)Google Scholar
Lewis, Roger, The Real Life of Laurence Olivier (London: Arrow, 1997)Google Scholar
Lieblein, Leanore, ‘Dave veut jouer Richard III: Interrogating the Shakespearean Body in Quebec’, Canadian Theatre Review, 111 (2002), 1521Google Scholar
Lloyd, Stephen, William Walton: Muse of Fire (Woodbridge: Boydell Press, 2001)Google Scholar
Loehlin, James N., Henry V (Manchester University Press, 1997)Google Scholar
Loehlin, James N., ‘“Top of the world, ma”: Richard III and Cinematic Convention’, in Boose, and Burt, (eds.), Shakespeare the Movie (London: Routledge, 2003), pp. 6880Google Scholar
Low, Rachael, The History of the British Film, 1895–1939, 7 vols. (London: Allen & Unwin, 1948–85)Google Scholar
Macnab, Geoffrey, J. Arthur Rank and the British Film Industry (London: Routledge, 1993)Google Scholar
Macnab, Geoffrey, Searching for Stars: Stardom and Screen Acting in British Cinema (London: Cassell, 2000)Google Scholar
Macnab, Geoffrey, ‘Unseen British Cinema’, in Murphy, Robert (ed.), British Cinema of the 1990s (London: BFI, 2000), pp. 134–44Google Scholar
Maley, Willy, ‘British Ill done? Recent Work on Shakespeare and British, English, Irish, Scottish and Welsh Identities’, Literature Compass, 3/3 (2006), 487512Google Scholar
Maley, Willy, ‘“This Sceptred Isle”: Shakespeare and the British problem’, in Joughin, (ed.), Shakespeare and National Culture, 83108Google Scholar
Maltby, Richard, Hollywood Cinema (Oxford: Blackwell, 2003)Google Scholar
Mangan, Michael, Staging Masculinities: History, Gender, Performance (Basingstoke: Palgrave Macmillan, 2003)Google Scholar
Mangham, Iain, ‘Looking for Henry’, Journal of Organizational Change Management, 14/3 (2001), 295304Google Scholar
Manheim, Michael, ‘The English History Play on Screen’, in Davies, and Wells, (eds.), Shakespeare and the Moving Image, pp. 121–46Google Scholar
Manvell, Roger, Film (London: Penguin, 1944)Google Scholar
Manvell, Roger, ‘The Film of ‘Hamlet’, The Penguin Film Review 8 (London: Penguin, 1949), pp. 1625Google Scholar
Manvell, Roger, Shakespeare and the Film (London: J.M. Dent & Sons, 1971)Google Scholar
Margolies, David, ‘Henry V and Ideology’, in Hatchuel, and Vienne-Guerinn, (eds.), Shakespeare on Screen: The Henriad, pp. 147–57Google Scholar
McDonald, Paul, ‘Reconceptualising Stardom’, in Dyer, Richard, Stars, 2nd rev. edn (London: BFI, 1998), pp. 175201Google Scholar
McFarlane, Brian, An Autobiography of British Cinema (London: Methuen, 1997)Google Scholar
McFarlane, Brian, ‘Dallas Bower: The Man Behind Olivier’s Henry V’, Shakespeare Bulletin, 12/1 (1994), 45–6Google Scholar
McKernan, Luke, ‘Bloody Dreams: Laurence Olivier’s Macbeth and the Business of Filming Shakespeare’, in Terris, Olwen, Oesterlen, Eve-Marie and McKernan, Luke (eds.), Shakespeare on Film, Television and Radio: The Researcher’s Guide (London: British Universities Film and Video Council, 2009), pp. 120Google Scholar
Mckillop, Ian, and Sinyard, Neil (eds.), British Cinema of the 1950s: A Celebration (Manchester University Press, 2003)Google Scholar
Melchiori, Giorgio, Shakespeare’s Garter Plays: Edward III to Merry Wives of Windsor (Newark: University of Delaware Press, 1994)Google Scholar
Mills, John A., Hamlet on Stage: The Great Tradition (Westport, CT: Greenwood Press, 1985)Google Scholar
Milne, Drew, ‘Drama in the Culture Industry: British Theatre After 1945’, in Davies, Alistair and Sinfield, Alan (eds.), British Culture of the Postwar: An Introduction to Literature and Society 1945–1999 (London: Routledge, 2000), pp. 169–92Google Scholar
Moor, Andrew, ‘Autobiography, the Self and Pressburger-Powell’s The Golden Years Project’, Screen, 46/1 (2005), 1531Google Scholar
Morley, David, and Robins, Kevin, ‘No place like Heimat: Images of (Home) land in European Culture’, New Formations, 12 (1990), 123Google Scholar
Morley, Margaret, The Films of Laurence Olivier (London: LSP Books, 1977)Google Scholar
Mullin, Michael (ed.), ‘Macbeth’ on Stage: Glen Byam Shaw’s 1955 Promptbook (Columbia: University of Missouri Press, 1976)Google Scholar
Mulvey, Laura, ‘Visual Pleasure and Narrative Cinema’ (1975), in Braudy, Leo and Cohen, Marshall (eds.), Film Theory and Criticism: Introductory Readings (New York: Oxford University Press, 2004), pp. 833–44Google Scholar
Murphy, Robert (ed.), The British Cinema Book (London: BFI, 2001)Google Scholar
Naremore, James, Acting in the Cinema (Berkeley: University of California Press, 1988)Google Scholar
North, Dan, ‘Finishing the Unfinished’, in North, Dan (ed.), Sights Unseen: Unfinished British Films (Newcastle: Cambridge Scholars, 2008)Google Scholar
Olivier, Laurence, Confessions of an Actor (London: Weidenfeld & Nicolson, 1982)Google Scholar
Olivier, Laurence, ‘An Essay in Hamlet’, in Cross, (ed.), The Film Hamlet, pp. 1115Google Scholar
Olivier, Laurence, ‘Foreword’, in Dent, (ed.), Hamlet: The Film and the Play, pp. 15Google Scholar
Olivier, Laurence, On Acting (London: Weidenfeld & Nicolson, 1986)Google Scholar
Olivier, Richard, Melting the Stone: A Journey Around my Father (Woodstock: Spring, 1996)Google Scholar
Olivier, Tarquin, My Father Laurence Olivier (London: Headline, 1992)Google Scholar
Palfrey, Simon, and Stern, Tiffany (eds.), Shakespeare in Parts (Oxford University Press, 2007)Google Scholar
Peeters, Heidi, ‘The Networked Self: Autofiction on MySpace’, Image [&] Narrative, 19 (2007), www.imageandnarrative.be/inarchive/autofiction/peeters.htmGoogle Scholar
Penlington, Amanda, ‘“Not a man from England”: Assimilating the Exotic “Other” through Performance, from Henry IV to Henry VI’, in Maley, Willy and Tudeau-Clayton, Margaret (eds.), This England, That Shakespeare: New Angles on Englishness and the Bard (Farnham: Ashgate, 2010), pp. 234–62Google Scholar
Phillips, James E., ‘Adapted from a Play by W. Shakespeare’, Hollywood Quarterly, 2/1 (1946), 8290Google Scholar
Pilkington, Ace G., Screen Shakespeare from Richard II to Henry V (London: Associated University Presses, 1991)Google Scholar
Pineau, Elyse Lamm, ‘A Mirror of Her Own: Anaïs Nin’s Autobiographical Performances’, Text and Performance Quarterly, 12 (1992), 97112Google Scholar
Porter, Vincent, ‘Methodism versus the Market-place: The Rank Organisation and British Cinema’, in Murphy, (ed.) British Cinema Book, pp. 8592Google Scholar
Postlewait, Thomas, ‘The Criteria for Evidence: Anecdotes in Shakespearean Biography, 1709–2000’, in Worthen, and Holland, (eds.), Theorizing Practice, pp. 4766Google Scholar
Potter, Lois, Shakespeare in Performance: Othello (Manchester University Press, 2002)Google Scholar
Rabkin, Norman, ‘Rabbits, Ducks and Henry V’, Shakespeare Quarterly, 28/3 (1977), 279–96Google Scholar
Raleigh, Walter, ‘Shakespeare and England’, in England and the War (Oxford: Clarendon Press, 1918), pp. 120–44Google Scholar
Rasmus, Agnieszka, Filming Shakespeare, from Metatheatre to Metacinema (Frankfurt: Peter Lang, 2008)Google Scholar
Reason, Matthew, ‘Archive or Memory? The Detritus of Live Performance’, New Theatre Quarterly, 19/1 (2003), 82–9Google Scholar
Rebellato, Dan, 1956 and All That (London: Routledge, 1999)Google Scholar
Rebellato, Dan, ‘Look Back at Empire: British Theatre and Imperial Decline’, in Ward, Stuart (ed.), British Culture and the End of Empire (Manchester University Press, 2001), pp. 7391Google Scholar
Reinelt, Janelle, ‘The Politics of Discourse: Performativity meets Theatricality’, in Auslander, Philip (ed.), Performance: Critical Concepts in Literary and Cultural Studies (London: Routledge, 2003), pp. 153–67Google Scholar
Richards, Jeffrey, Films and British National Identity: From Dickens to Dad’s Army (Manchester University Press, 1997)Google Scholar
Richards, Jeffrey, ‘New Waves and Old Myths: British Cinema in the 1960s’, in Moore-Gilbert, Bart and Seed, John (eds.), Cultural Revolution? The Challenge of the Arts in the 1960s (London: Routledge, 1992), pp. 171–86Google Scholar
Richards, Jeffrey, A Night to Remember: The Definitive Titanic Film (London: I.B. Tauris, 2003)Google Scholar
Richards, Jeffrey, and Sheridan, Dorothy (eds.), Mass-Observation at the Movies (London: Routledge, 1987)Google Scholar
Richmond, Hugh. M, ‘Cibber’s Richard III: From Garrick to Olivier’, Shakespeare in Performance: King Richard III (Manchester University Press, 1989), pp. 4872Google Scholar
Roach, Joseph, Cities of the Dead: Circum-Atlantic Performance (New York: Columbia University Press, 1996)Google Scholar
Roach, Joseph, It (University of Michigan Press, 2007)Google Scholar
Roach, Joseph, ‘Public Intimacy: The Prior History of “It”’, in Luckhurst, Mary and Moody, Jane (eds.), Theatre and Celebrity In Britain 1660–2000 (Basingstoke: Palgrave Macmillan, 2005), pp. 1530Google Scholar
Roberts, Peter (ed.), The Best of Plays and Players 1953–1968 (London: Methuen, 1988)Google Scholar
Rogoff, Jay, ‘A Little Touch of Larry in the Night’, Mississippi Review, 29/3 (2001), 184–95Google Scholar
Rokison, Abigail, ‘Laurence Olivier’, in Jackson, Russell (ed.), Great Shakespeareans: Gielgud, Olivier, Ashcroft, Dench (London: Bloomsbury, 2013)Google Scholar
Rose, Sonya O., Which People’s War? National Identity and Citizenship in Britain, 1939–1945 (Oxford University Press, 2003)Google Scholar
Rosen, David, The Changing Fictions of Masculinity (Urbana: University of Illinois Press, 1993)Google Scholar
Rosenberg, Marvin, The Masks of Hamlet (London: Associated University Presses, 1992)Google Scholar
Rothwell, Kenneth, A History of Shakespeare on Screen: A Century of Film and Television (Cambridge University Press, 1999)Google Scholar
Rowell, George, The Old Vic Theatre: A History (Cambridge University Press, 1993)Google Scholar
Royal, Derek, ‘Shakespeare’s Kingly Mirror: Figuring the Chorus in Olivier’s and Branagh’s Henry V’, Literature/Film Quarterly, 25 (1997), 104–10Google Scholar
Rutter, Carol Chillington, Enter the Body: Women and Representation on Shakespeare’s Stage (London: Routledge, 2000)Google Scholar
Rutter, Carol Chillington, ‘Introduction’, in Hunter, George (ed.), Macbeth (London: Penguin, 2005) pp. xxilxxiGoogle Scholar
Ryall, Tom, ‘American Production in Britain in the 1950s: Culture, Economics and Geography’, in Harvey, Sylvia (ed.), Trading Culture: Global Traffic in Local Cultures in Film and Television (Eastleigh: John Libbey, 2006), pp. 161–74Google Scholar
Sagovsky, Nicholas, ‘Henry V’, Lecture, Westminster Abbey, London (4 May 2010)Google Scholar
Sargeant, Amy, British Cinema: A Critical History (London: BFI, 2005)Google Scholar
Schneider, Rebecca, ‘Performance Remains’, Performance Research, 6/2 (2001), 100–8Google Scholar
Schubert, Linda, ‘Scoring the Fields of the Dead: Musical Styles and Approaches to Postbattle Scenes from Henry V (1944, 1989)’, in Driver, Martha W. and Ray, Sid (eds.), Shakespeare and the Middle Ages (Jefferson, NC: McFarland, 2009), pp. 6281Google Scholar
Shafer, Elizabeth, Ms-Directing Shakespeare: Women Direct Shakespeare (New York: St Martin’s Press, 2000)Google Scholar
Shail, Robert, British Film Directors: A Critical Guide (Edinburgh University Press, 2007)Google Scholar
Shakespeare, William, Hamlet, ed. Thompson, Ann and Taylor, Neil, Arden Shakespeare, Third Series (London: Thomson Learning, 2006)Google Scholar
Shakespeare, William, Henry V, ed. Craik, T.W., Arden Shakespeare, Third Series (London: Routledge, 1995)Google Scholar
Shakespeare, William, King John, ed. Honigmann, E.A.J., Arden Shakespeare, Second Series (London: Methuen, 1954)Google Scholar
Shakespeare, William, Macbeth, ed. Clarke, Sandra and Mason, Pamela, Arden Shakespeare, Third Series (London: Penguin, 2005)Google Scholar
Shakespeare, William, Richard III, ed. Siemon, James R., Arden Shakespeare, Third Series (London: Methuen Drama, 2009)Google Scholar
Shakespeare, William, The Tempest, ed. Vaughan, Virginia Mason and Vaughan, Alden T., Arden Shakespeare, Third Series (London: Thomas Nelson and Sons, 1999)Google Scholar
Shaughnessy, Robert, ‘The Last Post: Henry V, War Culture and the Postmodern Shakespeare’, Theatre Survey, 39/1 (1998), 4161Google Scholar
Shaughnessy, Robert, The Shakespeare Effect: A History of Twentieth-Century Performance (Basingstoke: Palgrave Macmillan, 2002)Google Scholar
Shaughnessy, Robert, ‘Stage, Screen and Nation: Hamlet and the Space of History’, in Henderson, (ed.), Shakespeare on Screen, pp. 5476Google Scholar
Shaughnessy, Robert, (ed.), Shakespeare on Film (Basingstoke: Palgrave Macmillan, 1998)Google Scholar
Shellard, Dominic, ‘1950–1954: Was it a Cultural Wasteland?’, in Shellard, Dominic (ed.), British Theatre in the 1950s (Sheffield Academic Press, 2000), pp. 2841Google Scholar
Shellard, Dominic, ‘Adaptable Terence Rattigan: Separate Tables, Separate Entities?’, in MacKillop, and Sinyard, (eds.), British Cinema of the 1950s, pp. 190205Google Scholar
Shellard, Dominic, British Theatre Since the War (New Haven, CT: Yale University Press, 1999)Google Scholar
Shellard, Dominic, (ed.), British Theatre of the 1950s (Sheffield Academic Press, 2000)Google Scholar
Showalter, Elaine, ‘Representing Ophelia: Women, Madness and the Responsibilities of Feminist Criticism’, in Parker, Patricia and Hartman, Geoffrey (eds.), Shakespeare and the Question of Theory (London: Routledge, 1990)Google Scholar
Silviria, Dale, Laurence Olivier and the Art of Film Making (London: Associated University Presses, 1985)Google Scholar
Sloboda, Noel, ‘Visions and Revisions of Laurence Olivier in the Hamlet films of Franco Zeffirelli and Kenneth Branagh’, Studies in the Humanities, 27/2 (2000), 140–58Google Scholar
Smallwood, Robert, Twentieth-Century Performance: The Stratford and London Companies’, in Wells, Stanley and Stanton, Sarah (eds.), The Cambridge Companion to Shakespeare on Stage (Cambridge University Press, 2002), 98118Google Scholar
Smith, Bruce R., Shakespeare and Masculinity (Oxford University Press, 2000)Google Scholar
Smith, Sidonie, ‘Identity’s Body’, in Ashley, , Gilmore, and Peters, (eds.), Autobiography and Postmodernism, pp. 266–92Google Scholar
Smith, Sidonie, ‘Performativity, Autobiographical Practice, Resistance’, in Smith, and Watson, (eds.), Women, Autobiography, Theory, pp. 108–15Google Scholar
Smith, Sidonie, and Watson, Julia (eds.), Interfaces: Women/ Autobiography/ Image/ Performance (Ann Arbor: University of Michigan Press, 2002)Google Scholar
Smith, Sidonie, and Watson, Julia (eds.), Reading Autobiography: A Guide for Interpreting Life Narratives, 2nd edn (Minneapolis: University of Minnesota Press, 2010)Google Scholar
Smith, Sidonie, and Watson, Julia (eds.), Women, Autobiography, Theory: A Reader (Madison: University of Wisconsin Press, 1994)Google Scholar
Solomon-Godeau, Abigail, Photography at the Dock: Essays on Photographic History, Institutions and Practices (Minneapolis: University of Minnesota Press, 1994)Google Scholar
Sontag, Susan, ‘Film and Theatre’, Tulane Drama Review, 11/1 (1966), 2437Google Scholar
Spicer, Andrew, ‘Male Stars, Masculinity and British Cinema, 1945–60’, in Murphy, (ed.), British Cinema Book, pp. 93100Google Scholar
Stacey, Jackie, Star-Gazing: Hollywood Cinema and Female Spectatorship (London: Routledge, 1994)Google Scholar
Starks, Lisa, ‘The Displaced Body of Desire’, in Desmet, Christy and Sawyer, Robert (eds), Shakespeare and Appropriation (London: Routledge, 1999)Google Scholar
Steedman, Carolyn, ‘The Space of Memory: In an Archive’, History of the Human Sciences, 11/4 (1994), 6583Google Scholar
Stern, Tiffany, Making Shakespeare (London: Routledge, 2004)Google Scholar
Stollery, Martin, ‘Transformation and Enhancement: Film Editors and Theatrical Adaptations in British Cinema of the 1930s and 1940s’, Adaptation, 3/1 (2010), 120Google Scholar
Street, Sarah, ‘Alexander Korda, Prudential Assurance and British Film Finance in the 1930s’, Historical Journal of Film, Radio and Television, 6/2 (1986), 161–79Google Scholar
Street, Sarah, British Cinema in Documents (London: Routledge, 2000)Google Scholar
Street, Sarah, British National Cinema (London: Routledge, 1997)Google Scholar
Street, Sarah, ‘Questions of Authenticity and Realism in A Night to Remember’, in Street, Sarah and Bergfelder, Tim (eds.), The Titanic in Myth and Memory (London: I.B. Tauris, 2004), pp. 143–55Google Scholar
Street, Sarah, Transatlantic Crossings: British Feature Films in the USA (London: Continuum, 2002)Google Scholar
Stubbs, Jonathan, ‘“Blocked” Currency, Runaway Production in Britain and “Captain Horatio Hornblower” (1951)’, Historical Journal of Film, Radio and Television, 28/3 (2008), 335–51Google Scholar
Stubbs, Jonathan, ‘The Eady Levy: A Runaway Bribe? Hollywood Production and British Subsidy in the Early 1960s’, British Journal of Cinema and Television, 6/1 (2009), 121Google Scholar
Styan, J.L., The Shakespeare Revolution (Cambridge University Press, 1977)Google Scholar
Sugarman-Singer, S.S., ‘Laurence Olivier Directs Shakespeare’, unpublished PhD dissertation, Northwestern University (1979)Google Scholar
Sutherland, John, and Watts, Cedric, Henry V, War Criminal? And Other Shakespearean Puzzles (Oxford University Press, 2000)Google Scholar
Swann, Paul, ‘The British Culture Industries and the Mythology of the American Market: Cultural Policy and Cultural Exports in the 1940s and 1990s’, Cinema Journal, 39/4 (2000), 2742Google Scholar
Swann, Paul, The Hollywood Feature Film in Postwar Britain (Kent: Crook Helm, 1987)Google Scholar
Swedberg, Richard, The Max Weber Dictionary: Key Words and Central Concepts (Stanford University Press, 2005)Google Scholar
Tanitch, Robert, Olivier: The Complete Career (New York: Abbeville Press, 1985)Google Scholar
Tasker, Yvonne, Spectacular Bodies: Genre, Gender and the Action Cinema (London: Routledge, 1993)Google Scholar
Taylor, Diana, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, NC: Duke University Press, 2003)Google Scholar
Taylor, Gary, Reinventing Shakespeare: A Cultural History from the Restoration to the Present (London: Hogarth Press, 1991)Google Scholar
Taylor, Philip M., British Propaganda in the Twentieth Century: Selling Democracy (Edinburgh University Press, 1999)Google Scholar
Thomson, Peter, On Actors and Acting (Exeter University Press, 2003)Google Scholar
Thumin, Janet, ‘The “Popular”, Cash and Culture in the Postwar British Cinema Industry’, Screen, 32/3, 245–71Google Scholar
Trumpbour, John, Selling Hollywood to the World: U.S. and European Struggles for Mastery of the Global Film Industry, 1920–1950 (Cambridge University Press, 2002)Google Scholar
Trowles, Tony, Treasures of Westminster Abbey (London: Scala, 2008)Google Scholar
Tynan, Kenneth, Theatre Writings, ed. Shellard, Dominic (London: Nick Hern, 2008)Google Scholar
Tynan, Kenneth, Tynan on Theatre (London: Penguin, 1964)Google Scholar
Tynan, Kenneth, Tynan Right and Left: Plays, Films, People, Places, Events (London: Longmans, 1967)Google Scholar
Tynan, Kenneth, A View of the English Stage (London: Methuen, 1984)Google Scholar
Tynan, Kenneth, and Olivier, Laurence, ‘The Actor: Tynan Interviews Olivier’, Tulane Drama Review, 11/2 (1966), 71101Google Scholar
Vickers, Nancy, ‘“The blazon of sweet beauty’s best”: Shakespeare’s Lucrece’, in Parker, Patricia and Hartman, Geoffrey (eds.), Shakespeare and the Question of Theory (New York: Methuen, 1985), pp. 95115Google Scholar
Vincendeau, Ginette, Stars and Stardom in French Cinema (London: Continuum, 2000)Google Scholar
Walker, Alexander, Vivien: The Life of Vivien Leigh (London: Weidenfeld & Nicolson, 1987)Google Scholar
Walker, Greg, ‘The Roots of Sir Alexander Korda: Myths of Identity and the International Film’, Patterns of Prejudice, 37/1 (2003), 325Google Scholar
Warner, Nicholas, ‘Screening Leadership Through Shakespeare: Paradoxes of Leader–Follower Relations in Henry V on Film’, Leadership Quarterly, 18/1 (2007), 115Google Scholar
Watts, Stephen, ‘The Future of Film and TV in Britain’, Quarterly of Film, Radio and Television, 10/4 (1956), 364–73Google Scholar
Weimann, Robert, Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Theatre (Cambridge University Press, 2000)Google Scholar
Weimann, Robert, ‘Representation and Performance: The Uses of Authority in Shakespeare’s Theater’, PMLA, 107/3 (1992), 497510Google Scholar
Weimann, Robert, and Bruster, Douglas, Shakespeare and the Power of Performance (Cambridge University Press, 2008)Google Scholar
Wells, Robin Headlam, Shakespeare on Masculinity (Cambridge University Press, 2000)Google Scholar
Wells, Stanley, ‘Foreword’, in Holland, (ed.), Shakespeare, Memory and Performance, pp. xviixx.Google Scholar
West-Pavlov, Russell, Bodies and their Spaces (New York: Rodopi, 2006)Google Scholar
Wexman, Virginia Wright, , ‘Masculinity in Crisis: Method Acting in Hollywood’, in Wojcik, Pamela Robertson (ed.), Movie Acting: The Film Reader (London: Routledge, 2004), pp. 127–45Google Scholar
Whelehan, Imelda, and Cartmell, Deborah, ‘Through a Painted Curtain: Laurence Olivier’s Henry V’, in Kirkham, Pat and Thoms, David (eds.), War Culture: Social Change and Changing Experience in World War Two (London: Lawrence & Wishart, 1995)Google Scholar
Wickham, Phil, ‘Scrap Books, Soap Dishes, and Screen Dreams: Ephemera, Everyday Life and Cinema History’, New Review of Film and Television Studies, 8/3 (2010), 315–30Google Scholar
Wilinsky, Barbara, Sure Seaters: The Emergence of Art House Cinema (Minneapolis: University of Minnesota Press, 2001)Google Scholar
Wollenberg, H.H., ‘British Films Overseas’, Sight and Sound, 15/60 (1946), 146–9Google Scholar
Wood, Alan, Mr Rank: A Study of J. Arthur Rank and British Films (London: Hodder & Stoughton, 1952)Google Scholar
Worthen, W.B., ‘Shakespeare 3.0 or Text Versus Performance, the Remix’, in Henderson, Diana (ed.), Alternative Shakespeares (Oxford: Routledge, 2008), pp. 5478Google Scholar
Worthen, W.B, Shakespeare and the Authority of Performance (Cambridge University Press, 1997)Google Scholar
Worthen, W.B, Shakespeare and the Force of Modern Performance (Cambridge University Press, 2003)Google Scholar
Worthen, W.B, ‘Shakespearean Performativity’, in Bristol, Michael and McLuskie, Kathleen with Holmes, Christopher (eds.), Shakespeare and Modern Theatre: The Performance of Modernity (London: Routledge, 2001), pp. 117–41Google Scholar
Worthen, W.B., and Holland, Peter (eds.), Theorizing Practice: Redefining Theatre History (Basingstoke: Palgrave Macmillan, 2003)Google Scholar
Yachnin, Paul, and Slights, Jessica (eds.), Shakespeare and Character: Theory, History, Performance and Theatrical Persons (Basingstoke: Palgrave Macmillan, 2009)Google Scholar
Zimmerman, Susan, The Early Modern Corpse and Shakespeare’s Theatre (Edinburgh University Press, 2005)Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Jennifer Barnes, University of Dundee
  • Book: Shakespearean Star
  • Online publication: 29 June 2017
  • Chapter DOI: https://doi.org/10.1017/9781316848517.008
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Jennifer Barnes, University of Dundee
  • Book: Shakespearean Star
  • Online publication: 29 June 2017
  • Chapter DOI: https://doi.org/10.1017/9781316848517.008
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Jennifer Barnes, University of Dundee
  • Book: Shakespearean Star
  • Online publication: 29 June 2017
  • Chapter DOI: https://doi.org/10.1017/9781316848517.008
Available formats
×