The paper focuses on the following samples of media material: Davide Ferrario’s Tuttacolpa di Giuda (2008), a film set in an Italian prison that references Hamlet; AlfredoPeyretti’s Moana (2009), which is about the life of Italian porn star Moana Pozzi, andincorporates lines from A Midsummer Night’s Dream; a 2001 episode of Crime SceneInvestigation entitled “Caged” that makes citations from Othello interact with aninvestigation into what looks like a murder; and Connie Macatuno’s Rome and Juliet(2006), a Filipino experimental film that turns Shakespeare’s tragic love story into alesbian romance. The paper argues that “Shakespeare” is a fragmentary but significantpresence in each of these media products, a “foreign body” within the “body proper” ofeach sample, simultaneously marginal and central, an indeterminate spectral “Thing”(Derrida). It is a “Shakespeare” that is involved in the continuous drawing and redrawingof boundaries: between high and low culture, between high art in the form of theatre and(porn) cinema, between heterosexual normativity and the “naturalness” of homoeroticdesire, between the “real life” of characters and a pre-determined script that repeatedlythreatens to take over and expropriate this life. From a theoretical point of view, thearticle draws attention to a more general (Shakespearean) citationality—simultaneously atextual and media phenomenon--without any clear beginning or predetermined end, afield within which forms of Shakespearean afterlife situate themselves as variables thatcannot be so easily separated from one another.
|Numero di pagine||19|
|Stato di pubblicazione||Published - 2018|