課程概述 Course Description
本課程引領學生縱覽近代最受重視的一系列莎劇電影，配合電影評論暨相關學術論述，期待達到以下教學目標：（1）幫助學生快速達到對莎劇豐富面貌初步的整體認識；（2）引領學生接觸媒體研究/文化研究有關莎劇改編晚近特別關注的議題；（3）提高學生進一步探索莎士比亞研究的興趣。 莎劇電影改編可謂對莎劇文本特別鮮明而影響廣泛的一種評論詮釋。嘗試深入觀察劇本文本/電影文本/評論文本之間相互辯證的關係，應能有助鍛鍊學生對文學藝術作品批評的能力。
This course aims to initiate students into the wealth of Shakespeare’s Drama by studying some of the most highly regarded films based on his plays. Students will be exposed to filmic productions by such directors as Olivier, Welles, Zeffirelli, Polanski, Brook, Nunn, Branagh and Almereyev; they will also become acquainted with cinematic Shakespearean adaptations that involve bolder reworking and cultural transposition by directors such as Kurosawa, Kozintsev, Greenaway, Xiaogang Feng and Sherwood Hu. Aside from film viewing and discussions in class, students will also study selected monologues and scenes from the original Shakespearean texts. On the basis of “close reading” of both films and texts, supplemented by a good number of critical essays available in the course packet, students will be encouraged to explore key issues contemporary literary, media, and cultural studies are concerned with, e.g., questions about adaptation, authorship, the strengths and limitations of the stage/cinematic means for representing Shakespeare, and the problem of “authenticity” inherent in a cross-media, cross-cultural migration.

參考書目（教科書）Textbook and References
本課程指定教材包括著名莎劇商籟台詞選輯，以及一系列精選評論文章。
預定將匯集成冊，或以講義形式發放。
主要參考書目為：
Buchanan, Judith. Shakespeare on Film. New York: Longman, 2005.
Crowl, Samuel. Shakespeare at the Cineplex. Athens: Ohio University Press, 2003.
Davies, Anthony. Filming Shakespeare’s Plays, the Adaptations of Laurence Olivier, Orson Welles, Peter Brook, and Akira Kurosawa. Cambridge: Cambridge Univ. Press.
Davies, Anthony and Stanley Wells, eds. Shakespeare and the Moving Image: the Plays on Film and Television. Cambridge: Cambridge University Press, 1994.
Hindle, Maurice. Studying Shakespeare on Film. New York : Palgrave Macmillan, 2007.
Jackson, Russell, ed. Shakespeare on Film. Cambridge: Cambridge University Press, 2007.

評量方式 Grading
1. Regular attendance and active participation in class discussions (10%);
2. Frequent quizzes (50%);
3. the Completion of a Scene/Monologue Performance or an Essay (20%)
4. Final Exam (20%)

A Tentative Syllabus:
Week 1 Introduction. Shakespeare: Drama’s DNA
Week 2 Al Pacino’s Looking for Richard
Week 3 Laurence Olivier’s Richard III; Ian McKellan’s Richard III;
Week 4 Kenneth Branagh’s Henry V;
Week 5 Laurence Olivier’s Henry V; Selected Lines
Week 6 Roman Polanski’s Macbeth;
Week 7 Akira Kurosawa’s Throne of Blood; 當代傳奇《慾望城國》;
台南人劇團《馬克白》； Verdi’s Macbeth
Week 8 Ian McKellan’s Macbeth
Week 9 Franco Zeffirelli’s Hamlet;
Week 10 Michael Almereyda’s Hamlet; Selected Lines
Week 11 Kenneth Branagh’s Hamlet; Laurence Olivier’s Hamlet;
Documentaries: This is Hamlet; The Great Hamlets
Week 12 馮曉剛《夜宴》；胡雪樺 《喜馬拉雅王子》；
( Kurosawa’s The Bad Sleep Well; Selected Lines;
Tom Stoppard’s Rosencrantz and Guildenstern Are Dead;)
Week 13 Orson Welles’ Othello; Oliver Parker & Kenneth Branagh’s Othello
Week 14 Akira Kurosawa’s Ran;
(Peter Brook’s King Lear; Ian Holm’s King Lear)
Week 15 Michael Radford & Al Pacino’s The Merchant of Venice;
Trevor Nunn’s The Merchant of Venice
Taiwanese Bangzi’s Bond
Week 16 Julie Taymor’s Titus
Week 17 Greenaway’s Prospero’s Books; Selected Lines
Student Scene/Monologue Performances
Week 18 Student Scene/Monologue Performances