Books and edited special issues


Judith Buchanan, Shakespeare on Silent Film: An Excellent Dumb Discourse (Cambridge: Cambridge University Press, 2009; paperback 2011)

Judith Buchanan (ed.), The Writer on Film: Screening Literary Authorship (Houndmills, Basingstoke: Palgrave-Macmillan, 2013)

Judith Buchanan (ed.), ‘Silent Shakespeare’, guest-edited special issue of Shakespeare (peer-reviewed journal of the British Shakespeare Association) v.3, n.3 (December 2007)

Judith Buchanan, Shakespeare on Film (London: Longman-Pearson, 2005)

Judith Buchanan, Shakespeare’s Late Plays (London: Wordsworth, 2001)

Judith Buchanan and Emma Smith, Five Classical Plays (London: Wordsworth, 1998)

Judith Buchanan, Four Shakespeare Comedies (London: Wordsworth, 1998)


Articles and chapters

Judith Buchanan, ‘Collaborating with the dead: revivifying Benson’, in Cronin, B. (ed), Process and Practice: Collaboration and Adaptation (Palgrave, 2017), final chapter.

Judith Buchanan, ‘The Winter’s Tale‘s spectral endings: death, dance and doubling’, in Hatchuel, S. and Vienne Guerrin, N. (eds), Shakespeare on Screen: The Romances (Cambridge: Cambridge University Press, 2017), pp.110-132.

Judith Buchanan, ‘”Look here, upon this picture”: theatrofilm, The Wooster Group Hamlet and the film industry’, in McMullan, G. and Wilcox, Z., Shakespeare in Ten Acts (London: British Library Publishing, 2016), pp.197-214.

Judith Buchanan, ‘Not Sycorax’, in McMullan, G., Orlin, L. and Vaughan, V. (eds.), Women Making Shakespeare: Essays on Text, Reception and Performance (London: Arden, 2013), pp.335-345.

Judith Buchanan, ‘Documentary li(v)es: writing falsehoods, righting wrongs in von Donnersmarck’s The Lives of Others (2006)’, in Judith Buchanan (ed.), The Writer on Film: Screening Literary Authorship (Houndmills, Basingstoke: Palgrave-Macmillan, 2013), pp.218-235.

Judith Buchanan, ‘Judith’s vampish virtue and its double market appeal’, in Wyke, M. and Michelakis, P. (eds.), The Ancient World in Silent Cinema (Cambridge: Cambridge University Press, 2013), pp.205-228.

Judith Buchanan, ‘“Now, where were we?”: ideal and actual lecturing practices in early cinema’, in Davison, A. and Brown, J. (eds.), The Sounds of Early Cinema in Britain (Oxford: OUP, 2012), pp.38-54.

Judith Buchanan, ‘“un cinéma impur”: framing film in the early film industry’, in Allen, S. and Hubner, L. (eds.), Framing Film: Cinema and the Visual Arts (Bristol: Intellect, 2012), pp.238-260.

Judith Buchanan, ‘Literary Adaptation in the Silent Era’, in Cartmell, D. and Whelehan, I. (eds), Blackwell Companion to Literature, Film and Adaptation (Oxford: Wiley-Blackwell, 2012), pp.17-32.

Judith Buchanan, ‘Shakespeare and the Magic Lantern’, Shakespeare Survey 62 (Cambridge: CUP, 2009): 191-210.

Judith Buchanan, ‘Shakespeare and Silent Film’, in Thornton Burnett, M., Streete, A. and Wray, R. (eds.), The Edinburgh Companion to Shakespeare and the Arts (Edinburgh: Edinburgh University Press, 2011), pp. 467-483.

Judith Buchanan, ‘Celluloid formaldehyde?: the body on film’, in Saunders, C., MacNaughton, J. and Maude, U. (eds.), The Body and the Arts (Houndsmill, Basingstoke: Palgrave-Macmillan, 2009), pp. 270-286.

Judith Buchanan with Newhouse, A., ‘Sanguine mirages, cinematic dreams: things seen and things imagined in the 1917 Fox A Tale of Two Cities’, in Jones, C., McDonagh, J. and Mee, J. (eds.), Charles Dickens, ‘A Tale of Two Cities’ and the French Revolution (Houndmills, Basingstoke: Palgrave Macmillan, 2009), pp.146-165. Principal author: Buchanan. (Written in collaboration with PhD student.)

Judith Buchanan, ‘Gospel Narratives on Silent Film’, in Cartmell, D. and Whelehan, I. (eds.), The Cambridge Companion to Literature on Screen (Cambridge: CUP, 2007, pbk 2010), pp.47-60.

Judith Buchanan, ‘“In mute despair”: early silent films of The Tempest and their theatricalreferents’, Shakespeare v.3, n.3 (December 2007): 330-351.

Judith Buchanan, guest editor’s Introduction to ‘Silent Shakespeare’, special issue of Shakespeare v.3, n.3 (December 2007): 283-292.

Judith Buchanan, ‘“Orgies of gesticulation”?: pedigree and performance codes in Sir Johnston Forbes-Robertson’s and Ruggero Ruggeri’s silent films of Hamlet’, Shakespeare v.2., n.1 (June 2006), pp.24-46.

Judith Buchanan, ‘Shakespeare on Film’, in Abel, R. (ed,), The Encyclopaedia of Early Cinema, (London and New York: Routledge, 2004, pbk 2010), pp.588-590

Judith Buchanan, ‘Forbidden Planet and the Retrospective Attribution of Intentions’, in Cartmell, D., Hunter, I., Kaye, H. and Whelehan, I. (eds.), Retrovisions: Reinventing the Past in Film and Fiction (London and Chicago: Pluto, 2001), pp.148-162.

Judith Buchanan, ‘Cantankerous Scholars and the Production of a Canonical Text: the Appropriation of Hieronymite Space in Prospero’s Books’, in Stalpaert, C. (ed.), Peter Greenaway’s ‘Prospero’s Books’: Critical Essays (Ghent: Academia Press, 2000), pp.43-85.

Judith Buchanan, ‘Virgin and Ape, Venetian and Infidel: Labellings of Otherness in Oliver Parker’s Othello’, in Burnett, M.T. and Wray, R. (eds.), Shakespeare, Film, Fin de Siècle (Basingstoke and New York: Macmillan, 2000), pp.179-202.

Judith Buchanan, ‘“Like this insubstantial pageant faded”: Michael Powell’s The Tempest’, Film Studies, v.1, n.2 (March 2000), 79-90.

Shakespeare on Silent Film Cover copy
The Writer on Film: Screening Literary Authorship
Women Making Shakespeare
Ancient World in Silent Cinema
framing film
Blackwell Companion
body and the arts
Tale of Two Cities
Cambridge Companion