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dc.contributor.authorAkgün, Buket
dc.date.accessioned2020-04-23T21:07:26Z
dc.date.available2020-04-23T21:07:26Z
dc.date.issued2016
dc.identifier.citationAkgün, Buket. "The Reception of the Weird Sisters in Welles's Macbeth and Kurosawa's Throne of Blood." The Asian Conference on Film and Documentary, 2015, Kobe, Japan: Official Conference Proceedings. Nagoya, Japan: IAFOR, 2016. 25-34.tr_TR
dc.identifier.urihttps://papers.iafor.org/proceedings/conference-proceedings-filmasia2015/
dc.identifier.urihttp://hdl.handle.net/20.500.12627/424
dc.description.abstractThis paper discusses the reception of the Weird Sisters of William Shakespeare's Macbeth (1606) in Orson Welles's Macbeth (1948) and Akira Kurosawa's Throne of Blood (1957) as supernatural beings with complete control over the destiny of mankind and over nature through a feminist, psychoanalytic, and semiotic reading of the play and the films. Unlike Shakespeare's witches, Welles's witches and Kurosawa's forest spirit do not acquire their knowledge and powers from Hecate or any masters. Since the word "weird" is derived from the Old English "wyrd" meaning "fate," it associates Shakespeare's and Welles's witches, who are referred to as the Weird Sisters, with the Fates in classical mythology and signifies their control over the fates of other characters. Welles's witches shape Macbeth's destiny by making his effigy, a clay doll, which they fashion out of the ingredients they put into their boiling cauldron at the opening scene of the film. In Kurosawa's film the forest spirit's singing and spinning a thread of life in the midst of the forest not only draws on the etymology of the word "weird," but also reminds us of mythological witches Kybele and Circe. Welles's witches and Kurosawa's forest spirit dominate both film adaptations through the agency of their extensions and substitutes as well—specific natural elements, such as the thunder, lightning, rain, fog, forest, and birds. Among other cinematic techniques, Welles's high-angle shots and Kurosawa's jump-cuts portray the dominion of the witches and the forest spirit over Macbeth and Washizu and over time and space.tr_TR
dc.description.sponsorshipIstanbul University Scientific Research Projects Unit (İstanbul Üniversitesi BAP Birimi). Project number UDP-54446.tr_TR
dc.language.isoengtr_TR
dc.publisherIAFORtr_TR
dc.rightsinfo:eu-repo/semantics/openAccesstr_TR
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United States*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/us/*
dc.subjectWilliam Shakespearetr_TR
dc.subjectShakespeare Studiestr_TR
dc.subjectMacbethtr_TR
dc.subjectFilm Adaptationtr_TR
dc.subjectAdaptation Studiestr_TR
dc.subjectOrson Wellestr_TR
dc.subjectAkira Kurosawatr_TR
dc.subjectWitchestr_TR
dc.subjectFeminist Theorytr_TR
dc.titleThe Reception of the Weird Sisters in Welles's Macbeth and Kurosawa's Throne of Bloodtr_TR
dc.title.alternativeThe Asian Conference on Film and Documentary, 2015, Kobe, Japan: Official Conference Proceedings.tr_TR
dc.typepresentationtr_TR
dc.contributor.departmentİstanbul Edebiyat Fakültesi, Batı Dilleri ve Edebiyatları Bölümü, İngiliz Dili ve Edebiyatı Ana Bilim Dalıtr_TR
dc.contributor.authorID0000-0003-4317-2200tr_TR


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