Biography

Mark THORNTON BURNETT

Mark THORNTON BURNETT

 

Mark Thornton Burnett, Fellow of the English Association and Member of the Royal Irish Academy, is Professor of Renaissance Studies at Queen’s University Belfast. He is the author of Masters and Servants in English Renaissance Drama and Culture: Authority and Obedience (Macmillan, 1997), Constructing ‘Monsters’ in Shakespearean Drama and Early Modern Culture (Palgrave, 2002), Filming Shakespeare in the Global Marketplace (Palgrave, 2007; 2nd ed. 2013), Shakespeare and World Cinema (Cambridge University Press, 2013) and ‘Hamlet’ and World Cinema (Cambridge University Press, 2019), the co-author of Great Shakespeareans: Welles, Kurosawa, Kozintsev, Zeffirelli (Bloomsbury Academic, 2013), the editor of The Complete Plays of Christopher Marlowe (Dent, 1999) and The Complete Poems of Christopher Marlowe (Everyman, 2000), and the co-editor of New Essays on ‘Hamlet’ (AMS Press, 1994), Shakespeare and Ireland: History, Politics, Culture (Macmillan, 1997), Shakespeare, Film, Fin de Siècle (Macmillan, 2000), Reconceiving the Renaissance: A Critical Reader (Oxford University Press, 2005), Screening Shakespeare in the Twenty-First Century (Edinburgh University Press, 2006), Filming and Performing Renaissance History (Palgrave, 2011), The Edinburgh Companion to Shakespeare and the Arts (Edinburgh University Press, 2011) and Women and Indian Shakespeares (Arden Shakespeare, 2022). He is series editor of the Arden Shakespeare series, ‘Shakespeare and Adaptation’.

 

Bibliography

Authored Books

  • Masters and Servants in English Renaissance Drama and Culture: Authority and Obedience (Basingstoke and London: Macmillan, 1997).
  • Constructing ‘Monsters’ in Shakespearean Drama and Early Modern Culture (Basingstoke and London: Palgrave, 2002).
  • Filming Shakespeare in the Global Marketplace (Basingstoke and London: Palgrave, 2007; 2nd ed. 2012).
  • Shakespeare and World Cinema (Cambridge: Cambridge University Press, 2013).
  • (co-author) Great Shakespeareans: Welles, Kurosawa, Kozintsev, Zeffirelli, with Courtney Lehmann, Marguerite H. Rippy and Ramona Wray (London and New York: Bloomsbury Academic, 2013).
  • Hamlet’ and World Cinema (Cambridge University Press, 2019)


Edited Books

  • (Co-editor) New Essays on ‘Hamlet’ (AMS Press, 1994).
  • (Co-editor) Shakespeare and Ireland: History, Politics, Culture (Macmillan, 1997).
  • The Complete Plays of Christopher Marlowe (Dent, 1999).
  • The Complete Poems of Christopher Marlowe (Everyman, 2000).
  • (Co-editor) Shakespeare, Film, Fin de Siècle, edited with Ramona Wray (Basingstoke and London: Macmillan, 2000).
  • (Co-editor) Reconceiving the Renaissance: A Critical Reader (Oxford University Press, 2005).
  • (Co-editor) Screening Shakespeare in the Twenty-First Century (Edinburgh University Press, 2006).
  • (Co-editor) Filming and Performing Renaissance History, edited with Adrian Streete (Basingstoke: Palgrave, 2011).
  • (Co-editor) The Edinburgh Companion to Shakespeare and the Arts, edited with Adrian Streete and Ramona Wray (Edinburgh: Edinburgh University Press, 2011).
  • (Co-editor) Women and Indian Shakespeares (Arden Shakespeare, 2022).


Journal Articles

  • ‘The “very cunning of the scene”: Kenneth Branagh’s Hamlet’, Literature/Film Quarterly, 25.2 (1997), pp. 78-82, reprinted in James M. Welsh, Richard Vela and John C. Tibbets, eds, Shakespeare into Film (New York: Checkmark Books, 2002), pp. 113-116.
  • ‘“Fancy’s Images”: Reinventing Shakespeare in Christine Edzard’s The Children’s Midsummer Night’s Dream’, Literature/Film Quarterly, 30.3 (2002), pp. 166-70.
  • ‘“To hear and see the matter”: Communicating Technology in Michael Almereyda’s Hamlet’, Cinema Journal, 42.3 (2003), pp. 48-69.
  • ‘Writing Shakespeare in the Global Economy’, Shakespeare Survey, 58 (2005), pp. 185-98.
  • ‘Madagascan Will: Cinematic Shakespeares/Transnational Exchanges’, Shakespeare Survey, 61 (2008), pp. 239-255.
  • ‘Applying the Paradigm: Shakespeare and World Cinema’, Shakespeare Studies, 38 (2010), pp. 114-122.
  • ‘Screen Shakespeares: Knowledge and Practice’, Critical Quarterly, 52.4 (2010), pp. 48-62.
  • ‘Shakespeare and Contemporary Latin American Cinema’, Shakespeare Quarterly, 62.3 (2011), pp. 396-419.


Chapters in Books

  • ‘Impressions of Fantasy: Adrian Noble’s A Midsummer Night’s Dream’, in Mark Thornton Burnett and Ramona Wray, eds, Shakespeare, Film, Fin de Siècle (Basingstoke and London: Macmillan, 2000), pp. 89-101, reprinted in Lynn M. Zott, ed., Shakespearean Criticism, 70 (Detroit: Gale Research, 2003), pp. 152-7.
  • ‘From the Horse’s Mouth: Branagh on the Bard’ (with Ramona Wray), in Mark Thornton Burnett and Ramona Wray, eds, Shakespeare, Film, Fin de Siècle (Basingstoke and London: Macmillan, 2000), pp. 165-78
  • ‘“We are the makers of manners”: The Branagh Phenomenon’, in Richard Burt, ed., Shakespeare After Mass Media  (Basingstoke and London: Palgrave, 2002), pp. 83-105
  • ‘Contemporary Film Versions of the Tragedies’, in Richard Dutton and Jean Howard, eds, The Blackwell Companion to Shakespeare: The Tragedies (Oxford: Blackwell, 2003), pp. 262-83
  • ‘Intertextual Dialogues: Kenneth Branagh’s Much Ado About Nothing and Michael Hoffman’s A Midsummer Night’s Dream’, in Sarah Hatchuel and Nathalie Vienne-Guerrin, eds,Shakespeare on Screen: ‘A Midsummer Night’s Dream’ (Rouen: Publications de l’Université de Rouen, 2004), pp. 179-200
  • ‘Local Macbeth/Global Shakespeare: Scotland’s Filmic Destiny’, in Andrew Murphy and Willy Maley, eds, Shakespeare and Scotland (Manchester: Manchester University Press, 2004), pp. 189-206
  • ‘Parodying with Richard’, in Sarah Hatchuel and Nathalie Vienne-Guerrin, eds, Shakespeare on Screen: ‘Richard III’ (Rouen: Publications de l’Université de Rouen, 2005), pp. 91-112
  • ‘Figuring the Global/Historical in Filmic Shakespearean Tragedy’, in Diana E. Henderson, ed., A Concise Companion to Shakespeare on Screen (Oxford: Blackwell, 2006), pp. 133-54
  • ‘“I see my father” with “my mind’s eye”: Surveillance and the Filmic Hamlet’, in Mark Thornton Burnett and Ramona Wray, eds, Shakespeare on Screen in the Twenty-First Century (Edinburgh: Edinburgh University Press, 2006), pp. 31-52
  • ‘“Parties in Converse”: ‘Literary’ and ‘Economic’ Dialogue in Michael Almereyda’s Hamlet’, in Susan Bruce and Valeria Wagner, eds, Fiction and Economy: Dissonant Exchanges (Basingstoke: Palgrave, 2007), pp. 98-113.
  • ‘Shakespeare Exhibition and Festival Culture’, in Mark Thornton Burnett, Adrian Streete and Ramona Wray, eds, The Edinburgh Companion to Shakespeare and the Arts (Edinburgh: Edinburgh University Press, 2011), pp. 445-463.
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