Samuel Crowl – författare

Between the release of Henry V in 1989 and Love's Labour's Lost in 2000, Kenneth Branagh directed eight major films in a wide variety of genres, ranging from film noir to horror to comedy, and continually startled audiences around the world with his audacious and energetic film style. Initially following in the footsteps of Orson Welles and Laurence Olivier, Branagh has placed himself among the small collection of actors who have transformed themselves into award-winning directors as well. In this, the first comprehensive English-language treatment of Branagh's feature films, Crowl delves deeply into the work of this bold artist, demonstrating the means by which Branagh manages to produce films that appeal to the general public even while treating texts and themes that are traditionally relegated to the realms of academic institutions and high art. As with Branagh's own work, readers cannot help but be entertained.

The book also includes a glossary of film and critical terminology as well as annotated selected bibliographies and filmographies.

In this lively study of both modern film and stage productions of Shakespeare, Samuel Crowl provides fascinating insights into the ways in which these productions have been influenced by one another as well as by contemporary developments in critical approaches to Shakespeare's plays.Crowl's study demonstrates the surprising resonances between Roman Polanski's 1971 film of Macbeth and Adrian Noble's heralded recent production of the play for The Royal Shakespeare Company; argues that Orson Welles's films of Othello and Cabins at Midnight are not only brilliant remaining of Shakespeare in another art form but make a powerful contribution to our contemporary understanding of performance as interpretation; and chronicles the impact of Peter Hall's creation of the Royal Shakespeare Company in 1960 on performance approaches to Shakespeare in the past thirty years.Shakespeare Observed provides full interpretative readings of key recent Shakespeare productions in England and includes an intimate behind-the-scenes glimpse into the rehearsal process which produced Ron Daniels's emotionally charged version of Romeo and Juliet for the RSC in 1980. The final chapter uses Kenneth Branagh's highly successful film of Henry V as a summary example of the trends and influences Crowl's study traces, seeing the film as gathering its interpretative energies from both Olivier's famous film version of the play and Adrian Noble's stage production featuring Branagh as the king.Written in a style which places a premium on capturing the vivid and often dazzling moments of stage and film performances of Shakespeare, Crowl's study will be of interest to the avid film and theatergoer as well as to the scholar and student. Shakespeare Observed joins a growing list of recent critical works which have significantly expanded and redefined the boundaries of Shakespeare studies in our time.

Samuel Crowl's Shakespeare at the Cineplex: The Kenneth Branagh Era is the first thorough exploration of the fifteen major Shakespeare films released since the surprising success of Kenneth Branagh's Henry V (1989). Crowl presents the rich variety of these films in the "long decade: between the fall of the Berlin Wall and the terrorist attacks on September 11, 2001." The productions range from Hollywood-saturated films such as Franco Zeffirelli's Hamlet and Michael Hoffman's A Midsummer Night's Dream to more modest, experimental offerings, such as Christine Edzard's As You Like It. Now available in paperback, Shakespeare at the Cineplex will be welcome reading for fans, students, and scholars of Shakespeare in performance.

Shakespeare and baseball are monuments of high and popular culture: Shakespeare is the most widely read and staged playwright in the world, and baseball is America’s game. Professor Samuel Crowl, a prize-winning teacher and international scholar of Shakespeare on film, explores his life as a champion of the Bard and a fan of the Detroit Tigers. He saw his first Tigers game in the summer of 1950 (Hal Newhouser beat the Chicago White Sox) and his first Shakespeare play in 1953 (Alec Guinness as Richard III at Ontario’s Stratford Festival) and has spent almost seventy-five years enjoying and writing about the pleasures of play that each provides.Shakespeare and Baseball is an unusual hybrid combining Crowl’s education as a Shakespeare and baseball fan, the resonances he perceives between the playwright and the game, the unexpected pleasures both forms of play have afforded his extended family of children and grandchildren, and a selection from the seventy letters he has written to them about Tigers games he has seen, from old Tiger Stadium, Fenway Park, Yankee Stadium, and ballparks in Cleveland.Crowl finds unexpected connections between his twin subjects, including beer, which funded and fueled both the establishment of Major League baseball clubs, like the Yankees and Cardinals, and the creation of the Shakespeare Memorial Theatre in Stratford-upon-Avon, the home of the Royal Shakespeare Company, visited by Shakespeare enthusiasts from around the world. A deeper linkage is that Shakespeare’s festive comedies kept the ideas, rituals, and customs of rural England alive in the dense urban world of Elizabethan London, just as baseball kept the image of the garden-the rural American past in which the game took shape­-alive in the twentieth-century American city. The book is written in a style that captures what one reader has called Crowl’s “warm, rich midwestern voice” and will be of interest to fans of the game and of the Bard, from high schoolers on up.

Shakespeare and baseball are monuments of high and popular culture: Shakespeare is the most widely read and staged playwright in the world, and baseball is America’s game. Professor Samuel Crowl, a prize-winning teacher and international scholar of Shakespeare on film, explores his life as a champion of the Bard and a fan of the Detroit Tigers. He saw his first Tigers game in the summer of 1950 (Hal Newhouser beat the Chicago White Sox) and his first Shakespeare play in 1953 (Alec Guinness as Richard III at Ontario’s Stratford Festival) and has spent almost seventy-five years enjoying and writing about the pleasures of play that each provides.Shakespeare and Baseball is an unusual hybrid combining Crowl’s education as a Shakespeare and baseball fan, the resonances he perceives between the playwright and the game, the unexpected pleasures both forms of play have afforded his extended family of children and grandchildren, and a selection from the seventy letters he has written to them about Tigers games he has seen, from old Tiger Stadium, Fenway Park, Yankee Stadium, and ballparks in Cleveland.Crowl finds unexpected connections between his twin subjects, including beer, which funded and fueled both the establishment of Major League baseball clubs, like the Yankees and Cardinals, and the creation of the Shakespeare Memorial Theatre in Stratford-upon-Avon, the home of the Royal Shakespeare Company, visited by Shakespeare enthusiasts from around the world. A deeper linkage is that Shakespeare’s festive comedies kept the ideas, rituals, and customs of rural England alive in the dense urban world of Elizabethan London, just as baseball kept the image of the garden-the rural American past in which the game took shape­-alive in the twentieth-century American city. The book is written in a style that captures what one reader has called Crowl’s “warm, rich midwestern voice” and will be of interest to fans of the game and of the Bard, from high schoolers on up.

Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films’ socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare’s “words, words, words” into film’s particular grammar and rhetoric

Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films’ socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare’s “words, words, words” into film’s particular grammar and rhetoric

Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films'' socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare''s “words, words, words” into film''s particular grammar and rhetoric

Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films'' socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare''s “words, words, words” into film''s particular grammar and rhetoric