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Epilogue
- from Part II - Iconography, Photography, and Hamlet
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- Still Shakespeare and the Photography of Performance
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- 05 December 2019
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- 19 December 2019, pp 225-231
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Chapter 5 - ‘Poor Yorick’: The Photograph as Memento Mori
- from Part II - Iconography, Photography, and Hamlet
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- Still Shakespeare and the Photography of Performance
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- 05 December 2019
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- 19 December 2019, pp 192-224
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Index
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- 19 December 2019, pp 245-248
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Dedication
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- Still Shakespeare and the Photography of Performance
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- 19 December 2019, pp v-vi
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Chapter 2 - Photographing the Past in the Theatre of Charles Kean
- from Part I - Photographing Performers
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- Still Shakespeare and the Photography of Performance
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- 19 December 2019, pp 67-101
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Chapter 1 - Liveness, Documentation, and the RSC’s Dreams, 1954–1977
- from Part I - Photographing Performers
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- 19 December 2019, pp 21-66
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Chapter 4 - ‘Too Much of Water’: Ophelia, Photography, Dissolution
- from Part II - Iconography, Photography, and Hamlet
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- Still Shakespeare and the Photography of Performance
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- 05 December 2019
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- 19 December 2019, pp 149-191
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Figures
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- 05 December 2019
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- 19 December 2019, pp viii-xi
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Contents
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- Still Shakespeare and the Photography of Performance
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- 19 December 2019, pp vii-vii
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Part I - Photographing Performers
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- Still Shakespeare and the Photography of Performance
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- 19 December 2019, pp 19-146
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Part II - Iconography, Photography, and Hamlet
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- Still Shakespeare and the Photography of Performance
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- 19 December 2019, pp 147-231
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Bibliography
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- 19 December 2019, pp 232-244
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Chapter 3 - Julia Margaret Cameron, Sympathetic Shakespeare, and Photographic Afterlives
- from Part I - Photographing Performers
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- Still Shakespeare and the Photography of Performance
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- 19 December 2019, pp 102-146
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Copyright page
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- 19 December 2019, pp iv-iv
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Acknowledgements
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- 19 December 2019, pp xii-xiv
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Introduction: ‘Leave Not a Rack Behind’
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- 19 December 2019, pp 1-18
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Still Shakespeare and the Photography of Performance
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- 05 December 2019
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- 19 December 2019