ABSTRACT
A colleague recently explained to me that she hesitates to use film in her college-level Shakespeare course because of a limited film vocabulary and a more “general uncertainty” about how to proceed. Such feelings are not uncommon, nor is the root of the problem difficult to identify. Whereas the potential usefulness of film has become an increasingly central—even clichéd—topic in discussions of Shakespeare in the classroom, most published studies have focused on the use of film for the explication of specific plays. Such studies offer excellent models to be emulated but do precious little in the way of inspiring creative and confident pedagogical experimentation with film. 1 Like my friend, most of us who teach prefer not to teach other people’s stuff.
