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From Divestment to Due Resolution: King Lear and the New York Fabulists, 1989-92

From Divestment to Due Resolution: King Lear and the New York Fabulists, 1989-92 mark nicholls I would unstate myself to be in a due resolution. --Gloucester in King Lear (1.2.102­03) The New York fabulists: Francis Coppola, Woody Allen, and Martin Scorsese, 1989. Credit: Touchstone/ Kobal Collection/ Myles Aronowitz. before even a frame of the godfather part iii had been screened in late 1990, Francis Ford Coppola made a highly publicized connection between his new film and Shakespeare's King Lear. In Peter Cowie's book on Coppola, the director is quoted thus: Michael Corleone's instincts were always to be legitimate, so it would be odd now, when he's almost in the King Lear period of his life, if his prime aim and purpose were not indeed to become legitimate. The result is a very classical piece, in the tradition of a Shakespeare play. Before I began writing I read a lot of Shakespeare, looking for inspiration to Edmund in King Lear, Lear himself, Titus Andronicus, even Romeo and Juliet. (242) mark nicholls is a senior lecturer in cinema studies at the University of Melbourne. He is the author of Scorsese's Men: Melancholia and the Mob and recently published articles on Mad Men, Martin Scorsese, Luchino Visconti, Shakespeare in film, and film and the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

From Divestment to Due Resolution: King Lear and the New York Fabulists, 1989-92

Journal of Film and Video , Volume 65 (3) – Aug 30, 2013

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018
Publisher site
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Abstract

mark nicholls I would unstate myself to be in a due resolution. --Gloucester in King Lear (1.2.102­03) The New York fabulists: Francis Coppola, Woody Allen, and Martin Scorsese, 1989. Credit: Touchstone/ Kobal Collection/ Myles Aronowitz. before even a frame of the godfather part iii had been screened in late 1990, Francis Ford Coppola made a highly publicized connection between his new film and Shakespeare's King Lear. In Peter Cowie's book on Coppola, the director is quoted thus: Michael Corleone's instincts were always to be legitimate, so it would be odd now, when he's almost in the King Lear period of his life, if his prime aim and purpose were not indeed to become legitimate. The result is a very classical piece, in the tradition of a Shakespeare play. Before I began writing I read a lot of Shakespeare, looking for inspiration to Edmund in King Lear, Lear himself, Titus Andronicus, even Romeo and Juliet. (242) mark nicholls is a senior lecturer in cinema studies at the University of Melbourne. He is the author of Scorsese's Men: Melancholia and the Mob and recently published articles on Mad Men, Martin Scorsese, Luchino Visconti, Shakespeare in film, and film and the

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Aug 30, 2013

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