Abstract

This essay argues that Michael Almereyda's film of Hamlet (2000) is a distinctively postmodernist cinematic statement that charts the ways in which the act of filmmaking allows a release from the pressures of global capitalism at the same moment as it creates a space for the articulation of a coherent subjectivity.

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Additional Information

ISSN
1527-2087
Print ISSN
0009-7101
Pages
pp. 48-69
Launched on MUSE
2003-05-29
Open Access
No
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