The uses of Shakespeare on American TV 1990-2010

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/19643 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/19643 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/19643 archive 4031 disk0/00/00/33/24 2012-05-11 14:34:06 2019-01-23 09:56:02 2012-05-11 14:34:06 thesis show 0 Whitmire Kendra Ann University of Birmingham The uses of Shakespeare on American TV 1990-2010 unpub E11 HM NX PN1990 PN2000 10col_artl Certain social, formal and technological aspects of television impact the creation of television, one of which is its being a postmodern medium full of intertextual references. Shakespeare is a common tool from which to draw for these references, and there are several types of appropriations of Shakespeare found on television. These include textual quotation, referencing a character name or play title, enacting or adapting the plays, sharing a similar plot, and alluding to famous scenes, actors, or adaptations of Shakespeare. There are two major categories of references: lengthy appropriations related to enaction/education and shorthand references. Seeing how Shakespeare references, especially the small, brief ones, are used within a show demonstrates how Shakespeare is a tool used in the creation and movement of a show. After outlining the important aspects of the television industry and defining the various common appropriations of Shakespeare, this study then focuses on several case studies to demonstrate the various uses of Shakespeare on television. By examining these case studies, the wide variety of Shakespearean uses will be discovered, as well as the similarities of appropriation, especially based on genre, thus demonstrating Shakespeare’s influence and how it is still is strong in modern culture. 2012-07 2011-02 graduation eng author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 194 University of Birmingham School of English, Drama and American & Canadian Studies, The Shakespeare Institute m_ph na 2012-07 graduation