Ruper Goold's Macbeth (2010): Surveillance Society and Society of Control
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Ruper Goold's Macbeth (2010): Surveillance Society and Society of Control

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Ruper Goold's Macbeth (2010): Surveillance Society and Society of Control

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dc.contributor.author Huertas Martín, Víctor
dc.date.accessioned 2021-05-04T09:06:56Z
dc.date.available 2021-05-04T09:06:56Z
dc.date.issued 2017
dc.identifier.uri https://hdl.handle.net/10550/79042
dc.description.abstract This article deals with Rupert Goold's film version of Macbeth (2010). Based on a stage production, this film is set in an unspecified Soviet country. I will analyze Goold's creation of a stage-to-screen hybrid recording framed as a surveillance film. Relying on Michel Foucault's and Gilles Deleuze's works as well as various contributions made by Cultural Materialist and New Historicist critics, I intend to explore the power relations in this surveillance film. I will also examine how the surveillance film conventions deployed by Goold turn the narrative into a meta-filmic event. This allows the viewer to perceive surveillance as part of the subject matter of the story and as inseparable from its narrative structure. Eventually, this will serve to explore how surveillance entirely transforms the filmscape. What begins as a film set in a surveillance society ends up as an environment dominated by a society of control.
dc.language.iso eng
dc.relation.ispartof SEDERI ( YEARBOOK OF THE SPANISH AND PORTUGUESE SOCIETY FOR ENGLISH RENAISSANCE STUDIES) , 2017, vol. 27, p. 81-103
dc.rights.uri info:eu-repo/semantics/openAccess
dc.source Huertas Martín, Víctor 2017 Ruper Goold's Macbeth (2010): Surveillance Society and Society of Control SEDERI ( YEARBOOK OF THE SPANISH AND PORTUGUESE SOCIETY FOR ENGLISH RENAISSANCE STUDIES) 27 81 103
dc.subject Cinematografia i literatura
dc.title Ruper Goold's Macbeth (2010): Surveillance Society and Society of Control
dc.type info:eu-repo/semantics/article
dc.date.updated 2021-05-04T09:06:56Z
dc.identifier.idgrec 146651

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