Taymor's "Titus" in Time and Space: Surrogation and Interpolation

@article{Cartelli2005TaymorsI,
  title={Taymor's "Titus" in Time and Space: Surrogation and Interpolation},
  author={Thomas Cartelli},
  journal={Renaissance Drama},
  year={2005},
  volume={34},
  pages={163 - 184}
}
version of Shakespeare's Titus Andronicus, Julie Taymor claims that she "wanted to blend and collide time, to create a singular period that juxtaposed elements of ancient barbaric ritual with familiar, contemporary attitude and style."1 Taymor elsewhere remarks that "the time of [her] film is from 1 to 2000 ad" and observes that "the film represents the last 2000 years of man's inhumanity to man. "2 Taken together, these comments effectively conflate the conceptual postmodernity Taymor brings… Expand
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This seems to be David McCandless's point when he contends that Taymor "aimed to make a violent movie that would deconstruct movie violence," which evokes the image of a cat chasing its tail
  • Taymor remains captive to the circularity of the binaries she sets up
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308. 18. Ibid., 309. 19. Ibid., 312. 20. All quotations from the text of Titus Andronicus are drawn from Jonathan Bate's Arden edition
  • 2000
The Illustrated Screenplay, ; Adapted from the Play by William Shakespeare (New
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204, n. 265. 26. Taymor, Titus: Illustrated Screenplay, s.d., 109. 27. Ibid
    Secret Life of Puppets, 290. Special thanks to Linda Chames for introducing me to The Secret Life of Puppets
      Tale of Two Tituse s
        The emasculated patriarch is reborn as homicidal merry prankster, exploiting his abject status to destroy his enemies and restore some coherence to his world