Abstract:
Since the genesis of film, Shakespeare’s plays have been a source of inspiration for many directors, screenwriters, and producers. Recent technological innovations have contributed to the emergence of a new perspective of Shakespeare on film. This thesis focuses on how Shakespeare’s play The Tragedy of Othello, the Moor of Venice has been adapted by different directors. It interrogates what "Shakespeare on film" means, and how the play Othello has been interpreted and received in modern society. The primary adaptations that will be analysed are films by Orson Welles (1952), Oliver Parker (1995), Tim Blake Nelson (O’, 2001), and Geoffrey Sax (2001). Incorporating evidence from reviews, articles, books, and interviews, this study demonstrates how filmmakers promoted Shakespeare’s text by dealing with the several subjects present in it, such as the hatred and fear of otherness, ambition, and revenge. It is my purpose to explore the various approaches and cinematographic techniques taken by directors to construct their visual language.
