Peter Brook has observed how the ‘reality of the image gives to film its power and its limitation’ (1987, 192), his suggestion being that the film’s capacity to articulate images so very emphatically means there is a danger that only a single level of meaning might be conveyed to the viewer. Jorgens therefore argues that to be true to the effect of what is invariably a whole play of meanings carried by Shakespeare’s verbal text, such realistic emphasis must be subordinated to an overall design in which ‘the aural has been made visual’. This was a phrase coined by Grigori Kozintsev, whose approach to Shakespeare on film exemplifies for Jorgens the advantages of the filmic mode. He sees this approach as being that of the ‘film poet’, whose works ‘bear the same relation to the surfaces of reality that poems do to ordinary conversation’ (10).
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