Voicing Ophelia: An Analysis of Franco Ze relli’s and Kenneth Branagh’s Representation of Ophelia

Autores/as

  • Marina Martins Amaral Universidade do Estado de Santa Catarina
  • José Roberto O’Shea Universidade Federal de Santa Catarina

DOI:

https://doi.org/10.26512/dramaturgias.v1i1.9039

Palabras clave:

Ophelia;Franco Zeffirelli;Kenneth Branagh; Madness; Hamlet.

Resumen

This essay compares and contrasts two different performances of William Shakespeare’s Ophelia. The first performance is from Franco Zeffirelli’s filmic produc- tion, Hamlet, from 1990, in which Ophelia is played by Helena Bonhan Carter, and the second is from Kenneth Branagh’s filmic production, Hamlet,from1996, in which the role is played by Kate Winslet. The scene here foregrounded is the famous “madness scene” (4.5), which dramatizes the character’s mental break down and serves as prelude for her iconic death. 

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Biografía del autor/a

Marina Martins Amaral, Universidade do Estado de Santa Catarina

Bachelor’s degree in the Fine Artsfrom UDESC, Universidade do Estado de Santa Catarina, with an academic extensionat Universidade de Coimbra, in Portugal. Master’s degree in the Fine Arts, also from UDESC, with the dissertation titled “Domingos Fossari: A Memória da Alma no Traço”. Marina is currently a doctoral studentat PGI, with the work inprogresstitled “Reminiscence of Images: Th e Representation of Shakespeare’s Ophelia in the History of Western Art”

José Roberto O’Shea, Universidade Federal de Santa Catarina

PhD in English and American Literature from The University of North Carolina, Chapel Hill, USA, and Master’s in Literature from The American University, Washington, DC, USA. Professor Titular (retired) from Universidade Federal de Santa Catarina, working full time with the post-graduate program in English.

Citas

CARNEIRO, Leonardo Bérenger Alves. Thy Name is Woman: A (Re)construção das Identidades Femininas em Adaptações Narrativas de Hamlet. PHD Dissertation. Universidade Federal do Rio de Janeiro, 2014.

CHEN, Yi-Chi. “Pregnant with Madness”” Ophelia’s Struggle and Madness in Hamlet”. Lecturer of the Language Center, Southern Taiwan University, 2011.

KENNEDY, Dennis.Looking at Shakespeare: A Visual History of Twentieth-Century Performance. Second Edition. Cambridge: Cambridge University Press, 2001.

LEONARD, Kendra Preston. The Lady Vanishes: Aurality and Agency in Cinematic Ophelias. Available in: http://kendraprestonleonard.com/wp-content/uploads/2013/08/The-Lady-Vanishes.pdf

MIYOSHI, Alex. “A escolha de Ofélia: Representações visuais da dama nas águas no século 19”.Revista de História da Arte e Arqueologia. Campinas: Unicamp, vol. 13.

(2010): (79-92).

SHAKESPEARE, William. Hamlet, Prince of Denmark. The Riverside Shakespeare. Second Edition. G. Blakemore Evans et al. Boston: Houghton Mifflin Co, 1997. 1189-1234.

ZUBA, Márcio Eduardo. Do texto dramático para a tela: Hamlet por Franco Zeffirelli. TCC/Universidade Federal do Paraná. Curitiba, 2006. Available in: http://www.letras.ufpr.br/documentos/graduacao/monografias/ss_2006/Marcio_Zuba.pdf

Online References:

http://www.filmeducation.org/pdf/film/Hamlet.pdf

http://wps.ablongman.com/wps/media/objects/1570/1608209/writing/model_docs/synth.pdf

http://www.josiebrown.com/signal_editorial/files/Branagh.pdf

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Publicado

2016-10-31

Cómo citar

Amaral, M. M., & O’Shea, J. R. (2016). Voicing Ophelia: An Analysis of Franco Ze relli’s and Kenneth Branagh’s Representation of Ophelia. Dramaturgias, 1(1). https://doi.org/10.26512/dramaturgias.v1i1.9039

Número

Vol. 1 Núm. 1 (2016): Shakespeare

Sección

Dossiê

Licencia

Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.