The Lady Vanishes: Aurality and Agency in Cinematic Ophelias

  title={The Lady Vanishes: Aurality and Agency in Cinematic Ophelias},
  author={Kendra Preston Leonard},
With the exception of Kenneth Branagh’s Hamlet, billed (disingenuously) as the first-ever “full-length” version of the play on film, major English-language cinema productions of Hamletz have reduced the screen time, dialogue, and singing allotted to Ophelia by nearly half since Laurence Olivier’s film of 1948. In purely statistical terms, Olivier’s Ophelia is accorded 803 words, Franco Zeffirelli’s allowed only 456, and Michael Almereyda’s a scant 447. In contrast, Branagh’s Ophelia has 1233… 
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