Conclusions

Abstract

This book has privileged ‘issues’ over film texts or directors, refusing to regard the latter two as precious objects to be valued in their own right. Rather a film text or the work of ‘auteurs’ of Shakespeare, directors with recognisable styles, such as Olivier, Zeffirelli, or Branagh, have to be seen as readings/receptions and to be taken together rather than individually. Only in this way can we uncover what insights and/or crimes are committed in the name of Shakespeare.KeywordsReal ThingFinal MomentFilm TextEnglish CurriculumChurch SettingThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.