Ashby, R., ‘Crowding out Dover “Cliff” in Korol Lir’, Adaptation 10.2 (2017): 210–29.CrossRefGoogle Scholar

Cavell, S., Disowning Knowledge in Seven Plays of Shakespeare (Cambridge: Cambridge University Press, 2003 [1987]).CrossRefGoogle Scholar

Foakes, R. A. (ed.), King Lear, The Arden Shakespeare, 3rd edition (London: Thomas Nelson & Sons, 1997).Google Scholar

Goldberg, J., ‘Dover Cliff and the Conditions of Representations: King Lear 4:6 in Perspective’, Poetics Today 5.3 (1984): 537–47.Google Scholar

Kernan, A. B., ‘Formalism and Realism in Elizabethan Drama: the Miracles in King Lear’, Renaissance Drama ns 9 (1966): 59–66.CrossRefGoogle Scholar

Knight, G. W., The Wheel of Fire (London: Methuen, 1949 [1930]).Google Scholar

Kott, J., Shakespeare Our Contemporary, trans. B. Taborski (London: Methuen, 1964).Google Scholar

Kozintsev, G., ‘King Lear’: the Space of Tragedy, trans. M. Mackintosh (London: Heinemann, 1977).Google Scholar

Levin, H., ‘The Heights and the Depths: a Scene from King Lear’, in Garrett, J. (ed.), More Talking of Shakespeare (London: Longmans, 1959), 87–103.Google Scholar

McLuhan, M., The Gutenberg Galaxy: the Making of Typographic Man (Toronto: University of Toronto Press, 1962).Google Scholar

McNeir, W. F., ‘The Staging of the Dover Cliff Scene in King Lear’, in McNeir, W. F. (ed.), Studies in English Renaissance Literature (Baton Rouge: Louisiana State University Press, 1962), 87–104.Google Scholar

Meek, R., Narrating the Visual in Shakespeare (New York: Routledge, 2016 [2009]).Google Scholar

Mooney, M. E., Shakespeare’s Dramatic Transactions (Durham, NC: Duke University Press, 1990).CrossRefGoogle Scholar

Peat, D., ‘“And that’s true too”: King Lear and the Tension of Uncertainty’, Shakespeare Survey 33 (1980): 43–53.Google Scholar

Price, J., ‘Shakespeare Cliff, Rempart Symbolique aux Portes du Royaume’, Les Cahiers du MIMMOC 1 (2006): http://mimmoc.revues.org/101 (accessed 7 October 2017).Google Scholar

Rosenberg, M., The Masks of King Lear (Berkeley, Los Angeles and London: University of California Press, 1972).Google Scholar

Ryle, S. J., ‘Filming Non-Space: the Vanishing Point and the Face in Brook’s King Lear’, Literature/Film Quarterly 35.2 (2007): 140–7.Google Scholar

Schleiner, W., ‘Justifying the Unjustifiable: the Dover Cliff Scene in King Lear’, Shakespeare Quarterly 36.3 (Autumn 1985): 337–43.Google Scholar

Aebischer, P., Shakespeare’s Violated Bodies: Stage and Screen Performance (Cambridge: Cambridge University Press, 2004).Google Scholar

Cowie, A., ‘King Lear @ Royal Shakespeare Theatre’, Reviewing Shakespeare, n.d.: http://bloggingshakespeare.com/reviewing-shakespeare/king-lear-rsc-royal-shakespeare-theatre-stratford-upon-avon-england-2016/ (accessed 21 December 2017).Google Scholar

Croall, J., Performing King Lear: Gielgud to Russell Beale (London: Bloomsbury, 2015).CrossRefGoogle Scholar

Friedman, M. D., ‘The Shakespeare Cinemacast: Coriolanus’, Shakespeare Quarterly 67.4 (2016): 457–80.Google Scholar

Griggs, Y., Screen Adaptations: Shakespeare’s ‘King Lear’: the Relationship between Text and Film (London: Methuen Drama, 2009).CrossRefGoogle Scholar

Kirwan, P., ‘King Lear (Donmar/NT Live) @ Warwick Arts Centre Cinema’ The Bardathon, 4 February 2011: http://blogs.nottingham.ac.uk/bardathon/2011/02/04/king-lear-donmarnt-live-warwick-arts-centre-cinema/ (accessed 21 December 2017).Google Scholar

‘King Lear (National Theatre/NT Live) @ The Broadway, Nottingham’, The Bardathon, 2 May 2014: http://blogs.nottingham.ac.uk/bardathon/2014/05/02/king-lear-national-theatrent-live-the-broadway-nottingham/ (accessed 21 December 2017).Google Scholar

Nicholas, R., ‘Understanding “New” Encounters with Shakespeare: Hybrid Media and Emerging Audience Behaviours’, in Aebischer, P., Greenhalgh, S. and Osborne, L. E. (eds.), Shakespeare and the ‘Live’ Theatre Broadcast Experience (London: Bloomsbury, 2018), 77–92.CrossRefGoogle Scholar

‘Filmography’, in Aebischer, P., Greenhalgh, S. and Osborne, L. E. (eds.), Shakespeare and the ‘Live’ Theatre Broadcast Experience (London: Bloomsbury, 2018), 227–42.Google Scholar

Purcell, S., ‘King Lear Performed by the Donmar Warehouse (Review)’, Shakespeare Bulletin 32.2 (2014): 264–6.Google Scholar

Reidy, B. K., Schutt, B., Abramson, D. and Durski, A., ‘From Live-to-Digital: Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution’, Arts Council England, 11 October 2016: www.artscouncil.org.uk/publication/live-digital (accessed 30 June 2017).Google Scholar

Rogers, J., ‘Talawa and Black Theatre Live: “Creating the Ira Aldridges That Are Remembered” – Live Theatre Broadcast and the Historical Record’, in Aebischer, P., Greenhalgh, S. and Osborne, L. E. (eds.), Shakespeare and the ‘Live’ Theatre Broadcast Experience (London: Bloomsbury, 2018), 147–59.Google Scholar

Stone, A., ‘Not Making a Movie: the Livecasting of Shakespeare Stage Productions by the Royal National Theatre and The Royal Shakespeare Company’, Shakespeare Bulletin 34.4 (2016): 627–43.Google Scholar

Wardle, J., ‘“Outside Broadcast”: Looking Backwards and Forwards, Live Theatre in the Cinema – NT and RSC Live’, Adaptation 7.2 (2014): 134–53.Google Scholar

Wyver, J., ‘“All the Trimmings?”: the Transfer of Theatre to Television in Adaptations of Shakespeare Stagings’, Adaptation 7.2 (2014): 104–20.CrossRefGoogle Scholar

‘Screening the RSC Stage: the 2014 Live from Stratford-upon-Avon Cinema Broadcasts’, Shakespeare 11.3 (2015): 286–302.Google Scholar

Ashley, L. R. N., ‘Recent Publications on Elizabethan England and Related Fields’, Bibliothèque d’Humanisme et Renaissance 68 (2006): 573–610.Google Scholar

Klett, E., ‘Shakespearean Authority and Emotional Realism in Slings and Arrows’, Early Modern Studies Journal 5 (2013): www.uta.edu/english/emsjournal/articles/klett.html (accessed 9 September 2017).Google Scholar

Ormsby, R., ‘“This Famous Duke of Milan of Whom So Often I Have Heard Renown”: William Hutt at the Stratford and New Burbage Festivals’, Canadian Theatre Review 141 (2010): 10–15.Google Scholar

Osborne, L. E., ‘Serial Shakespeare: Intermedial Performance and the Outrageous Fortunes of Slings & Arrows’, Borrowers and Lenders 6.2 (Fall/Winter 2011): www.borrowers.uga.edu/783090/show (accessed 9 September 2017).Google Scholar

Pittman, L. M., Authorizing Shakespeare on Film and Television: Gender, Class, and Ethnicity in Adaptation (New York: Peter Lang, 2011).Google Scholar

Rothwell, K. S., A History of Shakespeare on Screen: a Century of Film and Television (Cambridge: Cambridge University Press, 1999).Google Scholar

VanDerWerff, T., ‘The Slings & Arrows Creators Discuss Their Writing Process and the Show’s Future’ AV Club 31 (May 2013): www.avclub.com/article/the-islings-arrowsi-creators-discuss-their-writing-98410 (accessed 9 September 2017).Google Scholar