In this article, I consider representations of Gertrude and Ophelia in three recent film adaptations of the Hamlet story: Hamlet (Douglass, 2017), Hamlet in the Golden Vale (Hasse and Myers, 2019), and Ophelia (McCarthy, 2018). These films comprise a community-based arts project, an independent theatre enterprise, and a limited release feature. Drawing on the notion of rhizomatic structures, I locate my reading of the films in the context of my consumption of the Hamlet story and consider the connections between these films and the broader textual landscape. Central to my considerations is the precarity of the women in the homosocial world of the Danish court at Elsinore, as it is imagined in the films. In particular, I look at Gertrude and Ophelia as participants in the body royal through the use of their physical bodies for reproductive purposes. With Gertrude already successful as the mother of Hamlet, while Ophelia holds the potential to become a mother, I apply a feminist reading that questions the implications of the women's motherhood within a patriarchal system. Finally, I briefly consider how representations of the precarity of the fictional Gertrude and Ophelia might extend to members of the current British royal family, with a specific focus on Kate Middleton, Duchess of Cambridge and Meghan Markle, Duchess of Sussex.
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