{'fraction_non_alphanumeric': 0.025423728813559324, 'fraction_numerical': 0.007532956685499058, 'mean_word_length': 5.727848101265823, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Globalist Dimensions of Silent Shakespeare Cinema

In respectful disagreement with Samuel Crowl’s description of the post World War II period as “the great international phase in Shakespeare’s absorption into film,”2 and in response to recent studies of current Shakespeare cinema’s globalist dimensions,3 I think it worth noting that Shakespeare film has been a thoroughly international phenomenon since its inception in the late nineteenth century. Moreover, recent debates regarding the ethical and political complexity of global Shakespeare cinema are similar to those engaged by early twentieth-century theorists focused on film as a new artistic medium, who openly questioned what they saw as film’s vying fascistic and revolutionary potentialities. Especially in the 1920s and 30s, film commentators as varied as Walter Benjamin, Theodor Adorno, Siegfried Kracauer, Charles Chaplin, and Sergei Eisenstein sought to understand the ideological effects of film, whether we mean by “film” a movie’s content, montage style, imagery, production, or the psy-