Richard Burt – författare

Medieval and Early Modern Film and Media contextualizes historical films in an innovative way - not only relating them to the history of cinema, but also to premodern and early modern media.

Shakespeare in mass media, particularly film, video and television, is arguably the hottest, fastest growing research agenda in Shakespeare studies. "Shakespeare after Mass Media" provides students and scholars with a comprehensive resource for studying the pop cultural afterlife of the Bard. From marketing to electronic Shakespeare, comics to romance novels, "Star Trek" to Branagh, radio and popular music to "Bartlett's Quotations", the volume explores the contemporary cultural significance of Shakespeare in a broad array of mass media contexts.

The current standstill in U.S.-Soviet arms limitation negotiations has raised a number of questions about the effectiveness of arms limitation treaties, whether it is possible to negotiate an arms control agreement that would actually cut back on U.S. and Soviet strategic arsenals, and how such an arms reduction could be accomplished. The authors of this book explore the problems of arms competition in the 1980s and stress the need for a complete reassessment of U.S. security interests lest negotiations become curiously disconnected from defense policy. To protect national interests, they assert, future arms limitation talks must allow for effective unilateral response to new classes of military problems and technologies. Each contributor addresses a specific area of arms negotiations, identifying various options, outlining potential outcomes, and discussing whether the talks actually are focusing on the right military issues. The book also provides an overview of previous U.S. arms limitation strategies and describes the Soviet approach to integrating national security with arms control policies.

This book explores problems of arms competition in the 1980s and stresses the need for a complete reassessment of U.S. security interests lest negotiations become curiously disconnected from defense policy. It explains the Soviet approach to integrating national security with arms control policies.

Shakespeare, The Movie brings together an impressive line-up of contributors to consider how Shakespeare has been adapted on film, TV, and video, and explores the impact of this popularization on the canonical status of Shakespeare.Taking a fresh look at the Bard an his place in the movies, Shakespeare, The Movie includes a selection of what is presently available in filmic format to the Shakespeare student or scholar, ranging across BBC television productions, filmed theatre productions, and full screen adaptations by Kenneth Branagh and Franco Zeffirelli. Films discussed include:* Amy Heckerling's Clueless* Gus van Sant's My Own Private Idaho* Branagh's Henry V* Baz Luhrman's William Shakespeare's Romeo and Juliet* John McTiernan's Last Action Hero* Peter Greenaway's Prospero's Books* Zeffirelli's Hamlet.

Following on from the phenomenally successful Shakespeare, The Movie, this volume brings together an invaluable new collection of essays on cinematic Shakespeares in the 1990s and beyond. Shakespeare, The Movie II:*focuses for the first time on the impact of postcolonialism, globalization and digital film on recent adaptations of Shakespeare;*takes in not only American and British films but also adaptations of Shakespeare in Europe and in the Asian diapora;*explores a wide range of film, television, video and DVD adaptations from Almereyda's Hamlet to animated tales, via Baz Luhrmann, Kenneth Branagh, and 1990s' Macbeths, to name but a few;*offers fresh insight into the issues surrounding Shakespeare on film, such as the interplay between originals and adaptations, the appropriations of popular culture, the question of spectatorship, and the impact of popularization on the canonical status of "the Bard."Combining three key essays from the earlier collection with exciting new work from leading contributors, Shakespeare, The Movie II offers sixteen fascinating essays. It is quite simply a must-read for any student of Shakespeare, film, media or cultural studies.

Following on from the phenomenally successful Shakespeare, The Movie, this volume brings together an invaluable new collection of essays on cinematic Shakespeares in the 1990s and beyond. Shakespeare, The Movie II:*focuses for the first time on the impact of postcolonialism, globalization and digital film on recent adaptations of Shakespeare;*takes in not only American and British films but also adaptations of Shakespeare in Europe and in the Asian diapora;*explores a wide range of film, television, video and DVD adaptations from Almereyda's Hamlet to animated tales, via Baz Luhrmann, Kenneth Branagh, and 1990s' Macbeths, to name but a few;*offers fresh insight into the issues surrounding Shakespeare on film, such as the interplay between originals and adaptations, the appropriations of popular culture, the question of spectatorship, and the impact of popularization on the canonical status of "the Bard."Combining three key essays from the earlier collection with exciting new work from leading contributors, Shakespeare, The Movie II offers sixteen fascinating essays. It is quite simply a must-read for any student of Shakespeare, film, media or cultural studies.

A dramatist whose own works were repeatedly censored early in his career and who later stood in succession to become the court censor himself, Ben Jonson embodies the contradictions and complexities of theater censorship in the early Stuart period. Focusing on Jonson's writings and the political vicissitudes of his career, Richard Burt offers a provocative reinterpretation of Jacobean and Caroline theater censorship and theatrical culture.Informed by the writings of Foucault and Bourdieu, Licensed by Authority historicizes censorship, arguing that it was less a matter of denying dramatists liberty of speech than a network of productive strategies for legitimating and delegitimating specific discursive practices. Burt draws on a rich body of archival and literary evidence, including plays by Shakespeare and by Jonson's Caroline contemporaries, in order to demonstrate that censorship was nurtured and sustained not only by a culturally diverse Stuart court but also by the playwrights themselves, along with theatrical entrepreneurs, printers, poets, and critics.