As we mark the opening of the second century of Shakespeare films, we might also mark out new directions for their study. Chief among them is an approach to Shakespeare films in the context of a rigorous historicising and politicising of media configurations, and a theoretical model capable of generating new approaches based upon them. The model suggested here would not be new to historians: to explore the effects upon Shakespearean actors and productions of critical junctures in media history, when the use of emerging, competing and dormant technologies reflects situations of crisis, defence, reciprocal influence, commercial interdependency and realignments among various branches of the entertainment industry. Such an approach, based on the assumption that no Shakespeare film can be studied apart from changes in other media, opens up research into productions and performances that were caught on the cusp of what we typically refer to as technological change. The phrase 'critical junctures' here replaces 'technological change' both to avoid implications of technological autonomy or determinism and to emphasise the reintroduction of technologies as a strategic and competitive practice, inseparable from specific political, economic and social interests. For the sake of brevity, these media configurations will be approached through the experiences of Shakespearean actors and directors as they succeeded or failed to adapt to them.