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.
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