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Macbeth$
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Rebekah Owens

Print publication date: 2017

Print ISBN-13: 9781911325130

Published to Liverpool Scholarship Online: February 2021

DOI: 10.3828/liverpool/9781911325130.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 25 July 2021

Conclusion

Conclusion

Chapter:
(p.89) Conclusion
Source:
Macbeth
Author(s):

Rebekah Owens

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9781911325130.003.0007

This chapter talks about Polish critic Jan Kott's Shakespeare Our Contemporary of 1964, in which he noted that William Shakespeare's Histories are representing cycles of horror whereby a route to kingship is only through crimes. It points out how the cycle is inevitable to all people since everyone is trapped in a great machine, the engine of history. It also analyses Roman Polanski's Macbeth as a product of a disillusion with the 1960s countercultural idealism and the expression of a youthful anger at the collective lack of will for social change. The chapter looks at the concept of franchise, the twentieth-century phenomenon whereby a new-minted concept of the horror genre is continued in a series of sequels. It explores the ending of Macbeth and the promise it creates of an emotional resonance in the audience rather than just an intellectual one.

Keywords:   Macbeth, Roman Polanski, William Shakespeare, countercultural idealism, social change, horror genre, emotional resonance

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