Date: 2012 Posted by:James R. Ford Cast: Not given Credits: Produced by James R. Ford Duration: 1.30
A few months ago it was reported that US programmer Jesse Anderson had set up a virtual set of some millions of monkeys (using Hadoop), all of them tying at random on virtual typewriters, and had managed produce something that was 99.99% Shakespeare – the first text to be achieved in this way being ‘A Lover’s Complaint’. Anderson had cut corners however, because every time the random typing came up with words that roughly matched something from the Shakespeare canon then they would be retained, if not then discarded. With this and other constraints, Anderson could achieve his goal. The purely random production of Shakespeare by an infinite number of monkeys remains something for the philosophers and theoretical mathematicians.
Or for a videomaker. This droll piece, made by British artist James R. Ford, is an extract from a 9 minutes 8 second loop (therefore designed in principle to run forever). It shows us a woman in a monkey suit, typing Shakespeare, as the tags to the video tell us, because otherwise we would not know (a photograph of the typewriter on the artist’s website indicates that only gibberish has been produced – so far). Is is a Shakespeare video? I say that it is – and so it is (and just to make the point this post has been tagged with all of the plays and poems). A video to watch, infinitely.
Jesse Anderson explains more about his project on this video:
Date: 2007 Posted by: fenian47ronin Cast: Voice by Tamo Noonan Credits: Produced by Tamo Noonan Duration: 2.12
Tamo Noona aka fenian47ronin describes himself “writer–film critic, journalist, novelist”. As far as the world of online video is concerned, he’s a producer of reveries into the modern state of things, often laced with passages of Shakespeare. His videos bring together portentous imagery heavily treated with Photoshop and Affect Effects, with unclear music and his distorted voice laid over the top. When it works well, as it rather does here, the effect is kind of a stream-of-visual-consciousness with jazz overtones. The Hamlet soliloquy is spoken with heavy echo, with images of cities, skeletons, statues, basketball players, armed forces, the Titanic, and Noonan himself, and a jazzy drumbeat muttering underneath.
To Be or Not to Be is part four of a five-part video series he calls Empire not Liberty as describes as
five “pieces of work” made in response to the war in Iraq and how rampant consumerism began matching the insane military spending…
So now you know. The other five parts are Othello11tamo, Rogue & Peasant Slave, Drop ’till ya Shop!, and Piece of Work. They’re not going to stop war or consumerism (especially if so few people have actually viewed them so far), but they do show the visual power of Shakespeare’s words, whether heard or half-heard, and the efficacy of using distorted images to portray a world gone wrong.
Date: 2007 Posted by:hdflopeck Cast: James Huessy (Iago), Samantha Dickey (Desdemona), Claudia Tellez (Emilia), Nathan Hutchins (Cassio), Mike Thomas (Othello) Credits: There You Have It Productions presents. Shot and chopped by James Huessy Duration: 9.37
How do you take a tale of jealousy, power and racial prejudice in 16th century Venice and reposition it in a 21st century high school in Vermont? The feature film O demonstrated very ably how it is possible to translate Othello‘s particular passions to a modern-day American setting, but such a bold stroke of the imagination requires technical skill beyond the imagination and budget of the average high school English project. But that’s no reason not to try, and this is a lively and intriguing failure. The style adopted is to intercut often overlapping dialogue between the performers (the opening titles claim that the video was unscripted) with pieces to camera from the leading players, as they explain their actions – with the peculiar exception of Othello himself. The tone wavers uncertainly from seriousness to mocking, so that we get a vigorously conducted strangulation scene but then a silly suicide from Othello. Perhaps what’s most interesting is that Iago is the director, editor and lead performer, while Othello seems unclear what he is supposed to be doing (he questions how to pronounce Iago in the end credit ‘outtake’ sequences), redued to a mere cipher (his name is bottom of the acting credits). Iago the engineer of his own downfall, Othello the minor dupe – with a little more seriousness this could have been a quite interesting attempt at portraying the tragedy of Iago.
Date: 2009 Posted by:AMPPP-lifier Cast: Patrick Han, Pearlyn Lii, Melissa Ma, Peter Yang, and Andrew Yeh Credits: Not given Duration: 0.59
Not much information is given on this schools project billed as being “Othello Trailer for Cordero’s Sophomore English Honors Class. Period 4”. Just before he is executed, Iago looks back on his life in flashbacks, to the accompaniment of melodramatic music. There is no dialogue, only messages on computer screens and print-outs and the four players shown at crisis point, before the video ends with the execution. As a burst of creative energy, it is not at all unimpressive.
Date: 2007 Posted by:pulsetv.ir Credits: Created by Alireza Alborzi Cast: The Simpsons Duration: 1.46
One doesn’t expect to find Shakespeare parodies on an Iranian web TV channel, but that’s where this video resides (specifically on Pulsetv.ir, which is a channel on Blip.tv). It’s a mash-up of scenes from assorted episodes of The Simpsons to produce the world’s favourite American family’s interpretation of Othello. Homer is Othello, Marge is Desdemona, Sideshow Bob is Iago – it all just falls into place. The humour is doubled by the portentous trailer commentary, cheekily lifted from the trailer for Oliver Parker’s feature film Othello (as are the closing titles). Silly stuff, but done well.
Date: 2009 Posted by:John Carson McCarthy Credits: Created by John McCarthy Cast: None Duration: 0.54
A striking animated intepretation of Othello, without characters or any action from the play. Instead, and using the Maya and After Effects animation programmes, the filmmaker illustrates Othello’s turmoil and self-destruction through images of a house collapsing and turning into a prison. A few quotations appear as signposts. Brief and rudimentary as it is, this is a startlingly imaginative piece of work.
Date: 2008 Posted by:ishakespeare Credits: Directed by William Mann Cast: William Mann (Othello), Christopher Lynch (Iago) Duration: 3.18
More intensity from the Chamber Shakespeare Company, or ishakespeare (see previous post on the Company’s Hamlet), this time with two video extracts from its stage production of Othello. In othello’s perspective we experience a flat-toned Iago tormenting Othello, who is holding the camera. So we witness Othello’s fevered despair by seeing it literally from his point of view. While the kneeling Iago is all stillness, Othello ranges about all over the place, the mobile camera incoherently taking in floor, ceiling, lights, darkness, Iago. The result is barely audible, and certainly not all that intelligible as the recording of a stage performance, but it works well in the form of an experimental video, where the world that this Othello sees – that is, the theatre in which he is performing – turns into a bewildering mélange of colours, shapes and indistinct sounds as his own world collapses about him.
Date: 2008 Posted by:ishakespeare Credits: Directed by William Mann Cast: William Mann (Othello), Christopher Lynch (Iago) Duration: 3.55
The video’s companion piece is iago’s perspective. Now we see the same action from Iago’s point of view (clearly not filmed at the same time, since Othello carries no camera). From Iago’s eyes we look down on Othello writhing upon the ground. Grainy, out of focus for much of the time, with Iago’s drab tones off-camera, the result is arguably not Iago’s perspective at all but rather another way of looking at Othello’s inner anguish. It is more conventional than the first video, but together the two pieces raise all sorts of interesting questions on how theatre may be filmed, what it means to film theatre, and how the camera – one way or another – is always a performer. In the final ‘shot’ (the whole video, as with the first, is one take), Iago pans round to film himself in a mirror and tells us, “I hate the Moor”.