This collection of contemporary criticism highlights the ways in which recent discussion of Shakespeare on film has drawn upon the theoretical perspectives of Marxism, feminism, psychoanalysis and post-structuralism, generating a radical reappraisal of Shakespearean cinema which has itself experienced a revival in the last decade. Ranging widely across the canon of Shakespeare films, from Max Reinhardt's A Midsummer Night's Dream to Peter Greenaway's Prospero's Books, the essays address the cultural politics of film adaptation from a variety of angles, offering readings of individual films--Hamlet, Henry V, The Tempest--but also raising larger questions about the nature, purpose and future direction of Shakespearean cinema