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By Dian Henderson

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It requires us to be alert, however, to the history of specificity arguments about different media—and to the ways our local readings, grand narratives about adaptation, and institutional practices are all slanted by critical scripts based on such arguments. 3 In the passage quoted at the beginning of this essay, for example, Ball navigates a number of such scripts: in particular the idea of film as light recreation, a diversion for buffs, not matter for real scholarship. ”) addressed “To the Reader” rather than to lovers of motion pictures, and anchored by a citation (The Taming of the Shrew) (1968: 15).

He never stops talking. That’s why Pinter is so good. None of his people say too much . . ” Pushed to nominate a Shakespearean role that he still wanted to play, Gambon simply replied “I’d like to play Falstaff one day. But that’s about all I can think of” (Gussow 2004: 71, 48). Although renowned as a consummate technician and craftsman, Gambon regards acting as, in the words of the director of his Lear, Adrian Noble, “just mucking about” (Gussow 2004: 213), an attitude that has led, in his Shakespearean performances at least, to a glorious volatility and unpredictability.

As the scene continues to shift perspective, it does so in a way that seems to align us with the Lear/Gloucester figure. The slow pan keeps the screen center always slightly ahead of this composite character, symbolically empty until the point that he stumbles off the end of the bridge (a moment that puns, Abel suggests, on contemporary “fears of falling” down the social scale). As the blind man stumbles, the visual field opens into deep focus again and we gaze down a canal path and stream, gradually obscured by two advancing figures, the old man’s MEDIUM-SPECIFICITY FOR SCREEN SHAKESPEARE 11 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 81 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 711 servant and, a moment later, a gossip.

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