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Filming Shakespeare in the Global Marketplace (review)

In this engaging study, Burnett explores the complex interrelationships between globalization and Shakespeare films of the late twentieth and early twentyfirst centuries. On one level, the book contributes to the growing number of volumes surveying recent Shakespeare on film and television, including Judith Buchanan’s Shakespeare on Film (2005), Kenneth Rothwell’s A History of Shakespeare on Screen (2004), Samuel Crowl’s Shakespeare at the Cineplex: The Kenneth Branagh Era (2003), as well as much earlier studies such as Jack Jorgen’s seminal Shakespeare on Film (1977). Burnett cogently examines nearly two-dozen Shakespeare films ranging from mainstream Hollywood productions such as Kenneth Branagh’s Much Ado About Nothing (1993), Oliver Parker’s Othello (1995), Michael Hoffman’s A Midsummer Night’s Dream (1999), and Michael Radford’s The Merchant of Venice (2005) to relatively obscure (and sometimes hard to find) art house films such as Greg Lombardo’s Macbeth in Manhattan (1999), Gavin Bedford’s The Street King (2002), Roger Goldby’s made for television Indian Dream (2003), and David LaChapelle’s clothing commercial Romeo & Juliet (2005). Although it provides useful production information about a number of films made between the mid 1990s and the early 2000s, Burnett’s book is much more than a survey of recent Shakespeare films. Firmly grounded within current theoretical work on globalization, the study is also a highly nuanced and richly theoretical examination of how recent Shakespeare films “self-consciously contemplate Shakespeare’s status as an icon in relation to the global marketplace” (3). That is, it explores how the films are both shaped by and acutely responsive to “the dictates of world consumerism and late capitalist modalities of consumption” (3). In this regard, the book is much more openly theoretical than many recent book-length studies of Shakespeare on film and in-line with texts such as Lynda Boose and Richard Burt’s Shakespeare, the Movie collections (1997; 2003) as well as Courtney Lehmann’s Shakespeare Remains: Theater to Film, Early Modern to Postmodern (2002) and Thomas Cartelli and Katherine Rowe’s recent New Wave Shakespeare on Screen (2007). Incorporating timely theoretical work on globalization by Jan Aarte Scholte, Rob Wilson and Wimal Dissanayake, Michael Walsh, Richard Langhorne, and others, Burnett makes a compelling Book Reviews