OuterSpeares by Daniel Fischlin

Author:Daniel Fischlin
Language: eng
Format: epub
ISBN: 9781442669376
Publisher: University of Toronto Press
Published: 2014-10-23T16:00:00+00:00

3 Linda Hutcheon’s work on adaptation theory hints at this connection between media and the contexts that feed into media when she states, “My emphasis on adaptation as process (as well as product) means that the social and communication dimensions of media are important too, even when the particular emphasis … is on form” (2006, 34).

4 See http://boxofficemojo.com/movies/?id=gnomeoandjuliet.htm. Multiple other examples of the massive economies associated with Shakespearean film adaptations exist. To cite a few, director John Madden’s 1998 Oscar-winning film Shakespeare in Love has netted approximately $300 million worldwide on a production budget of $25 million, and Baz Luhrmann’s 1996 Romeo + Juliet adaptation grossed about $150 million. Even lesser films like the 2006 adaptation of Twelfth Night, She’s the Man, netted close to $60 million, while the 1999 film adaptation of The Taming of the Shrew, Ten Things I Hate about You, grossed close to $55 million. In a global film context that has seen hundreds of film adaptations of Shakespeare, making him the “most filmed author ever in any language” (“List of William Shakespeare Film Adaptations” 2012), the economies associated with this form of intermedial adaptation are significant. Conversely, the austere production conditions and other constraints imposed on the making of Mickey B in its prison context, combined with its participation in the tradition of rehabilitative Prison Shakespeare, position Mickey B outside of this canon of commercial and international cinematic adaptations of Shakespeare. Amy Scott-Douglass aptly notes, “Mickey B is an extraordinary exception to the rule in that the film insists on being received not as a work of social improvement but, rather, as a work of art. And it deserves to be received as such” (2010, 111). Indeed, what ultimately sets Mickey B apart from cinematic adaptations operating within commercial economies is its operation more predominantly within political aesthetics.

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