Notes on the Contributors

Sarah Hatchuel and Nathalie Vienne-Guerrin — Preface

Samuel Crowl — Hamlet on Film at Mid-Century and Fin de Siècle: Olivier and Branagh

Bernice W. Kliman — Hallmark Hall of Fame: Three Go's at Hamlet (1953, 1970, 2000)

Dominique Goy-Blanquet — The Country Matters in Kozintsev's Elsinore

Jacek Fabiszak — To Cut or Not to Cut? What's in the Written Text of Filmed Hamlets

Russell Jackson — The Gaps in Gertrude: Interpretations of the Role in Five Feature Films

Patricia Lennox — Joseph Papp and Diane Venora Rehearsing Hamlet

Victoria Bladen — The Ghost and the Skull: Rupturing Borders between the Living and the Dead in Filmed Hamlets

Pierre Kapitaniak — Hamlet's Ghost on Screen: The Paradox of the Seventh Art

Mark Thornton Burnett — Hamlet and World Cinema: A Paradigmatic Instance

Anne-Marie Costantini-Cornède — Akira Kurosawa's The Bad Sleep Well (1960) and Aki Kaurismäki's Hamlet Goes Business (1987): Film Noir or Neo-Noir Modern Hamlets, or Genre as an Ideological Signifier

Douglas Lanier — Nouveau Noir: Claude Chabrol's Ophélia, Shakespeare’s Hamlet, and the Nouvelle Vague

Sarah Hatchuel, Nathalie Vienne-Guerrin — "I’ve been killed, but I’m not dead": Remains of Hamlet in the French telefilm L’Embrumé (1980)

Frédéric Delord — André Téchiné’s "Shakespearean Trilogy"

Gaëlle Ginestet — Une femme douce by Robert Bresson: Hamlet or Anti-Cinematography

Courtney Lehmann — 2B or not 2B: The Elect(ed) and the Damned in Hamlet 2

Sylvaine Bataille — "Hamlet on Harleys": Sons of Anarchy’s Appropriation of Hamlet

Mariangela Tempera — "Not to Be": Referencing the Rest of Hamlet on Screen

José Ramón Díaz Fernández — Hamlet on Screen: An Annotated Filmo-Bibliography