ABSTRACT
Rather than explore the many ways that China has adapted, interpreted, performed or come to terms with Shakespeare, the chapter will focus on one year and two Chinese film adaptations that are strong works of art in and of themselves. Shakespeare has had a history in China and in Asia. This is true in translation and in theatre and later in film and other electronic media. Here, after taking into account scholarship in China and elsewhere, I shall interpret in detail two twenty-first film adaptations of Hamlet – The Banquet and The Prince of the Himalayas.
