This article discusses The Hollow Crown (2012, 2016) adaptations of William Shakespeare’s histories in the light of broader changes that have overtaken television. Contextualising the series in terms of technical, industrial, cultural, and critical transformations, the article highlights the Shakespearean significance of debates in television studies around quality, complexity, and aesthetics. To illustrate this thesis, the article analyses the opening of Richard II (dir. Rupert Goold, 2012), unpacking the ways in which the first 60 seconds merge markers of prestige with a distinctive cinematic style and a dense imagistic and acoustic register in order to achieve narrative intricacy and poetic responsiveness.
|Number of pages||20|
|Early online date||22 Apr 2021|
|Publication status||Early online date - 22 Apr 2021|