From the editor.
This will be the last issue for which my friend and colleague Kirk Melnikoff will serve as editor of the Shakespeare on Screen section. Kirk has served the journal loyally and with great creativity, devotion and intellectual energy since I took over as editor in 2003, and was a shaping hand in determining the journal's new format, development and success. Since then he has contributed a special issue ("Orson Welles and Shakespeare on Film" [23:1]), guided the journal's work on television and film with a steady editorial hand, and continued to refine internal policy and procedure. We will miss his company, his wit, and critical rigor, and are pleased that he will be taking a place on the editorial board to assist with the assessment of film/screen material in the future. We all wish him the best in his future academic endeavors.
With this change in the editorial staff, we have elected to close the screen section as a discrete entity within the journal, not because we are no longer interested in visual media but because we recognize a collapsing of the tines of demarcation around different forms of performativity. Multimedia components are becoming all the more common in stage productions so that to maintain a rigid separation between theatre and screen seems artificial, even theoretically problematic. This change in no way signals a decrease in our interest in screen productions of Renaissance drama. Shakespeare Bulletin will continue to devote articles, reviews and special issues to such productions but they will be considered part of the journal's general interest in performance and performativity.
Once more let me express my thanks to Kirk for his seven years of service, and to all contributors and subscribers who continue to make Shakespeare Bulletin exciting, innovative and intellectually challenging.
Andrew James Hartley
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|Author:||Hartley, Andrew James|
|Date:||Dec 22, 2009|
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