햄릿에서 햄릿으로: 디지털 콘텐츠로 읽는 햄릿의 재해석 작업 비교 연구

Abstract

This paper examines three film adaptations of Shakespeare’s Hamlet, and discusses the films as offering new understanding of adapted films as digital contents. Olivier’s Hamlet rearrange the scenes by abbreviating a considerable sum of lines and excluding some of the characters from the original. His approach to defining the reality of morally corrupted Denmark is the ethical one, completely ruling out political factors which can estimate the aspect of procrastination in Hamlet. In part Olivier’s choice to thus focus the film production is due to his insistence on the Oedipus Complex as a means to understanding Hamlet’s character and his relations with Ophelia, Gertrude, the ghost, and Claudius. Branagh’s Hamlet gives the whole aspect of the play by using its full text. This enables the film not only to reveal the complexity of its major characters, but also to intensify its political meaning by including the Fortinbras subplot. And the film shows a strong tendency to make itself popular among the masses aiming at a box-office success. For example, it borrows various techniques from Hollywood movies, each popular genre of which focuses respectively on horror, eroticism and science fiction. These strategies and devices for boosting popularity invariably turn out to preserve or heighten the artistic values of the play. Almereyda’s Hamlet is thrown into 21st century New York City, and is a filmmaker. His film adaptation of Hamlet is a unique combination of two approaches: commenting on both the play’s stage/screen existence and its place in the global culture of today, and discovering such aspects of the play that have not been shown, or at least highlighted, before. He chooses to acknowledge the achievments of his predecessors and refers not only to the iconography of Shakespeare on stage and screen bout to various other cultural influences. Also, he attempts to update the play for our times and take on an original and innovative interpretation. Moving the action of the film to New York 2000, he saturates the film with media and technology, thus creating alternative worlds that enable him to develop the plot on various levels of cinematic reality.