Final Degree Thesis 2

GRADO EN
FACULTAD DE FILOSOFÍA Y LETRAS

UNIVERSIDAD DE LEÓN
Curso Académico 20**/20**
HAIL, MACBETH!
THE PROFOUND RELEVANCE AND INFLUENCE OF
ADAPTATION STUDIES: A FOCUS ON JUSTIN KURZEL’S
MACBETH AND JOEL COEN’S THE TRAGEDY OF
MACBETH
Victoria Saavedra López

Tutor: Elena Bandín Fuertes
EL/LA TUTOR/A, EL/LA ALUMNO/A,
Fdo.: Fdo.:
A mi tío Marcos. A mis padres, mis abuelos y abuelas. A mi hermana.
Gracias por enseñarme ser.

Resumen
Este trabajo de fin de grado indaga en la influencia e importancia de los Estudios de

Adaptación como un floreciente campo de investigación académica. En una era en la
que el avance tecnológico es implacable, y nuevas formas de difusión cultural no paran
de emerger, los Estudios de Adaptación han ido ganando cada vez más prominencia.
Han desempeñado así un papel transformador en la configuración de las dinámicas de
adaptación y las diferentes formas de expresión cultural. Este trabajo de fin de grado
tiene como objetivo proporcionar un análisis extenso e ilustrativo de las dinámicas
dentro de los Estudios de Adaptación, ofreciendo una visión general completa de su
desarrollo cronológico, sus académicos más influyentes, así como sus teorías críticas
más relevantes, entre otros aspectos. Además, este trabajo se adentra en la importancia y
relevancia del legado literario de William Shakespeare dentro del ámbito de la
adaptación. En particular, se enfoca en la obra atemporal y universal de Shakespeare,
Macbeth, y la infinidad de adaptaciones cinematográficas que ha inspirado. Se
examinan así minuciosamente dos adaptaciones contemporáneas: Macbeth (2015) de
Justin Kurzel y La Tragedia de Macbeth (2021) de Joel Coen. Estas adaptaciones sirven
como estudios de caso, lo que permite un análisis comparativo que destaca las
oportunidades artísticas que presenta el proceso de adaptación en sí. En este contexto, se
realiza una exploración en profundidad del personaje de las Tres Brujas en la obra
original de Shakespeare, desglosando su representación y significado. Luego se procede
a analizar cómo este icónico personaje es reinterpretado y reimaginado en las
adaptaciones cinematográficas tanto de Kurzel como de Coen. La conclusión obtenida a
partir de este análisis refuerza la relevancia de los Estudios de Adaptación como campo
de estudio y destaca la importancia que las obras de Shakespeare han tenido en dicho
campo de estudio.
Abstract
This final degree thesis delves into the profound influence and importance of
Adaptation Studies as a flourishing diel of academic inquiry. In an era of relentless
technological advancement and the emergence of innovative forms of cultural diffusion
over recent decades, Adaptation Studies has gained increasing prominence. It has played
a transformative role in shaping the dynamics of adaptation and cultural expressions.
This thesis aims to provide an extensive and insightful analysis of the multifaceted
dynamics within Adaptation Studies, offering a comprehensive overview of its
chronological development, influential scholars, and critical theories, among other
aspects. Furthermore, this thesis delves into the significance and relevance of William
Shakespeare’s literary legacy within the realm of adaptation. In particular, it focuses its
attention on Shakespeare’s timeless work Macbeth, and the endless number of
cinematographic adaptations it has inspired. Two contemporary adaptations, namely
Justin Kurzel’s Macbeth (2015) and Joel Coen’s The Tragedy of Macbeth (2021), are
meticulously examined. These adaptations serve as case studies, allowing for a
comparative analysis that highlights the artistic opportunities presented by the
adaptation process. Within this context, the thesis conducts an in-depth exploration of
the character of the Three Witches in Shakespeare’s original work, dissecting their
portrayal and significance. It then proceeds to analyse how this iconic character is
reinterpreted and reimagined in both Kurzel’s and Coen’s cinematographic adaptations.
The conclusion drawn from this analysis reinforces the relevance that Adaptation
Studies as a field of study and highlights the importance that Shakesperean works have
had in the field.
Contenido
1. Introduction ........................................................................................................................... 1
1. Theoretical Framework ......................................................................................................... 3
1.1. Adaptation Studies ........................................................................................................ 3
1.2. Shakespeare and Adaptation ....................................................................................... 10
1.3. Adaptations of Macbeth. Macbeth on Screen ............................................................. 12
2. Analysis............................................................................................................................... 14
2.1. Justin Kurzel’s Macbeth .............................................................................................. 15
3.2. Joel Coen’s The Tragedy of Macbeth ............................................................................... 18
3.3. Comparison of the Adaptations by Justin Kurzel and Joel Coen of Shakespeare’s tragedy
Macbeth................................................................................................................................... 20
3.3.1. Narrative Structure ........................................................................................................ 21
3.3.2. Themes .......................................................................................................................... 21
3.3.3. Personal Choices of the Directors and their main aim .................................................. 24
3.3.4. Visual Aesthetics ........................................................................................................... 29
3.3.5. Characters and performances ........................................................................................ 32
3.3.5.1. The character of Macbeth and Lady Macbeth in Kurzel’s and Coen’s adaptations ... 32
3.3.5.2. The characters of the Three Witches in the original work, Kurzel’s and Coen’s
adaptation ................................................................................................................................ 44
3.3.5.2.1. Different adaptations of the Three Witches on Screen ............................................ 44
3.3.5.2.2. The cinematographic adaptations of Macbeth by Justin Kurzel and Joel Coen. ..... 50
4. Conclusions ............................................................................................................................. 53
1. Introduction
In a world where art evolve and adapts, where narratives transcend time, where
the legacy of great artists is perpetually renewed, and in the vast realm of academic
exploration, Adaptation Studies has emerged as a vibrant and interdisciplinary field of
inquiry, meticulously dissecting the intricate process that underlie the transmutation of
literary, artistic, and cinematic works across the diverse media and cultural contexts.
Adaptation Studies, with its multifaceted dimensions, provides a lens through which to
discern the evolution of art and the interplay between tradition and renovation. This
dynamic discipline serves as a bridge that spans the chasm between the original and the
reimagined, shedding light on the creative alchemy that transforms narratives from one
medium to another. By delving into the processes of reinterpretation, reconstruction,
and recontextualization; Adaptation Studies opens a gateway to the exploration of how
stories evolve, evolve others, and evolve themselves. It is a tale of moving beyond
viewing adaptations as mere shadowy reflections of their originals to recognizing them
as vibrant and whole new works that stand independently, each with its unique voice
and significance. In this paper, different aspects will be analysed: from the historical
evolution to the theoretical frameworks, and from the prominent scholars to the
prevailing theories that collectively illuminate the evolution and importance of
adaptation as an enduring and pivotal aspect of cultural expression.
Simultaneously, the captivating appeal of William Shakespeare’s literary

legacy has propelled his works into the forefront of the adaptation landscape. Rooted in
the profundity of his narrative, the complexity of his characters, and the timeless
exploration of universal themes, Shakespeare’s plays have metamorphosed across
centuries and cultures, embedding themselves as fertile ground for the creative
reinterpretation that adaptation entails. As the adaptations of his plays are being
analysed, not only the evolution of narratives is traverse, but also the evolution of
human understanding and artistic innovation.
Among the multitude of Shakespeare’s timeless plays, Macbeth stands as a

testament to the resonating power of his narratives. As it transcends the pages of the
written word, it weaves its way onto the siler screen, finding new life in cinematic
adaptations that range from the evocative to the experimental. This exploration
navigates the trajectory of Macbeth on screen, delving into its essence through varying
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cinematic lenses while unearthing thematic aspects that echo across time. With each
cinematographic retelling, Macbeth transforms into a malleable canvas where
filmmakers reimagine the interplay of ambition, power, and fate against the backdrop of
their own artistic visions.
This paper unfolds through an in-depth examination of two notable

adaptations: Justin Kurzel’s Macbeth and Joel Coen’s The Tragedy of Macbeth. By
scrutinizing their narrative structure, themes, the personal choices of the director’s
during the adaptation process, the visual aesthetics, and the characters; parallels and
distinctions are drawn, culminating in a comprehensive comparison that underscores
their unique approaches reimagining and reinventing Shakespeare’s quintessential tale.
The juxtaposition of these adaptations reveals the richness of artistic interpretation and
the multitude of pathways through which a single narrative can be refracted.
Thus, this exploration embarks on a journey through the theoretical foundation

of Adaptation Studies, the timeless appeal of Shakesperean adaptations, the
cinematographic metamorphosis of Macbeth, and culminates in a comparative analysis
that intertwines narrative choices, character interpretations, thematic nuances, and
visual aesthetics. As these components converge, they weave a tapestry that reveals the
intricate relationship between literary tradition, cinematic innovation, and the ongoing
dialogue between past and present, artist and audience.
The intertwining aspects of Adaptation Studies, Shakesperean Adaptations, and

cinematic analysis mirror the intricate relationship of storytelling across time and space.
This intricate relationship shows how every interpretation, every adaptation, is a
conversation between creators and the narratives that have withstood the test of time. It
is a conversation between generations, cultures, mediums, that invites audiences to
explore the different dimensions of human experience through the lens of adaptation.
In summation, this expansive analysis transcends the confines of academic analysis,

weaving together the realms of Theory, Adaptation, Shakesperean narratives, and
cinematographic innovation. In the end, this convergence engage us to embrace the
fluidity of narratives, the transformative power of reinterpretation and adaptations, and
the ways in which creativity is a conduct for cultural conversations across time and
space.
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1. Theoretical Framework
In the upcoming section, the theoretical framework of Adaptation Studies will

be delved, offering a comprehensive exploration of this academic discipline. This
includes tracing the historical evolution of Adaptation Studies, elucidating its
fundamental theories and approaches, spotlighting the prominent scholars who have
shaped its trajectory, and highlighting their invaluable contributions to the field. By
delving into the rich tapestry of Adaptation Studies, it is aimed to provide a nuanced
understanding of its foundations and evolution, setting the stages for a deeper
examination off its applications in the realm of cultural and artistic adaptations.
1.1. Adaptation Studies
The realm of Adaptation Studies constitutes an academic domain that is centred

upon the comprehensive exploration of adaptations. An adaptation is characterized as a
creative artifact, encompassing domains of art, literature, and cultural expressions,
which have undergone a process of modification or transformation from their original
state. Traditional instances of adaptation encompass mediums such as cinema, theatre,
opera, television, and musical compositions. However, the emergence of innovative
modes of media, diverse channels of diffusion, and transformative technological
mechanisms has ushered in unprecedented avenues for the practice of adaptations. In
the contemporary milieu, adaptations extend their influence on interactive platforms,
including video games and virtual reality experiments, thus ushering in a transformative
expansion in analytical viewpoints and methodological intricacies concerning the
examination and comprehension of the adaptation phenomenon.
Although Adaptation Studies is considered as “recent” in the academic

perspective, the study of adaptation can be traced back to the earliest adaptations of
classical literature in the ancient world. Adaptation Studies, as a field of study, emerged
late in the 20th century as a consequence of the growing interest in adaptation as a
cultural practice. Since then, it has been evolving due to the rise of these new emerging
media and technologies that were mentioned previously. In 1975, George Bluestone
published his work Novels into Film. This work was one of the most influential
contributions to the field since its beginning, and he was one of the most influential
scholars in the field as well. For years, his theories and approaches were considered as
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the pattern to be followed when studying adaptations. Later, different scholars such as
Linda Hutcheon and Robert Stam, started developing different theories of adaptation.
The field began to flourish in the 1990s, when scholars started to explore the different
ways in which adaptations could be analysed and understood as a form of cultural
production. Adaptation Studies was started to be considered a field which combined
multiple disciplines, such as Literary Studies, Film Studies, Media Studies, Cultural
Studies, etc. In 2008, the journal Adaptation (2008) emerged, providing an academic
space for scholars to publish their research and contributions to the field. The main aim
of this journal is to “offer academic articles and film and book reviews across the field,
including both books to screen adaptation, screen to book adaptation, popular and
‘classic’ adaptations, theatre and novel screen adaptations, television, animation,
soundtracks, costume and design, production, industrial and economic issues, social and
ideological perspectives, and genres in literature on screen” (Cartmell, Corrigan y
Whelehan, Introduction to Adaptation 3). The 1st number of the 1st volume of the journal
is a huge claiming about the importance of the field, and why it has been so difficult to
define it as that. In it, Deborah Cartmel, Timothy Corrigan, and Imelda Whelehan
provide up to ten reasons why it took so long for a journal like this one to be released:
1. Champions of film, especially in the first half of the twentieth century saw the
adaptation as ‘impure cinema’ and resented the dependency of film on literature,
especially during the period in which film was struggling to be regarded as ‘ the
new literature ’ , an art form in its own right.
2. Writers and literary critics in the first half of the twentieth century considered
film adaptations as abominations, crude usurpations of literary masterpieces that
threatened both literacy and the book itself. Despite her acknowledging certain
aesthetic potential in film, in “The Cinema”, Virginia Woolf saw films as
degrading, with readers becoming ‘savages of the twentieth century watching
the pictures’ (166). Similarly, the inaugural volume of Scrutiny (1932) included
an essay on cinema by William Hunter entitled “The Art-Form of Democracy?”
(enlarged in his book Scrutiny of Cinema), in which he reflected on how films
target the lowest possible denominator. In light of this class-based assessment of
film culture, adaptations or ‘the fiction films’, especially, were regarded as ‘the
new opium’ (1932b), unworthy of further mention in such a journal as Scrutiny ,
and were effectively banned from literary studies from 1932 onwards.
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3. Academia’s institutional history has contributed to the problem: film studies
arrives in the 1960s often as the adopted child of literature departments and so
has, from the start, a kind of secondary status. There is an unspoken assumption
which remains alive and well in some corners of academia that film is not a
‘real’ discipline and ‘anyone can teach it’. In these terms it is clear that those
attempting to champion the legitimacy of film as a coherent discipline might feel
that a focus on the relationships between literature on screen only further
diminishes this aim. Thus, studies in adaptation have until recently tended to
inhabit a disciplinary twilight zone, tolerated by those in literary studies who
might acknowledge the uses of analysing some adaptations as examples of the
contemporary uses to which literature is put and resisted by those in film studies
who regard it as an erosion of the field.
4. Most of the criticism, until the twenty-first century, was woefully predictable,
judging an adaptation’s merit by its closeness to its literary source or, even more
vaguely, ‘the spirit’ of the book. Logocentrism or a belief that words come fi rst
and that literature is better than film has been prevalent.
5. Prejudice that money and art cannot mix prevailed, primarily in literary studies.
6. Related to the above point, the necessity of and continual romance with the
author and the fetishization of individual genius was and still is persistent.
7. The resemblance of film to Plato’s cave dwellers’ flickering lights was often
behind the notion that an adaptation was merely a copy of a literary text (and
nothing else), thereby dooming all adaptations as inferior, diluted versions of an
‘original’ (something akin to a Platonic form). Thus, an adaptation in these terms
can only be regarded as a pale version of a reality that is itself pale.
8. ‘Adaptation’ has historically had negative connotations, emphasizing what has
been lost rather than what has been gained. Criticism has been bedevilled by
emotive words such as ‘violation’ , ‘vulgarization’ and ‘betrayal’.
9. The study of literature on screen has largely concentrated on canonical texts,
giving the screen adaptation a very difficult act to follow and skewing debates
about the ‘purpose’ of adaptation. Adaptations that have usurped their ‘originals’
in the minds of their audience — films like The Wizard of Oz (Victor Fleming,
1939), To Have and Have Not (Howard Hawks, 1945) or Mary Poppins (Robert
Stevenson, 1964) — have failed to receive critical attention as adaptations. ‘Bad
adaptations’ receive more coverage than ‘good’ ones with the judgement of
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‘good’ and ‘bad’ being generally based on ‘literary’ principles which seek out
‘failure’ to justify preconceived aesthetic judgements.
10. Adaptations are assumed too often to be based on a single ‘source text’, ignoring
shifting social and cultural concerns, other films, genre considerations or even
financial and production considerations.
(Cartmell, Corrigan y Whelehan 1-2)
In this first number, these scholars elucidate a multitude of rationales

underpinning the historical lack of substantive recognition accorded to the field.
Notwithstanding these challenges, a group of authors has diligently disseminated their
scholarly contributions through diverse channels, thus augmenting the intellectual
repository of this domain. Preeminent among these scholars are Kamilla Elliott, Linda
Hutcheon, Thomas Leitch, Julie Sanders, and Robert Stam, each wielding considerable
influence within the purview of Adaptation Studies. This distinguished assembly
collectively embarked on an endeavour to engender new theoretical frameworks and
vantage points, seeking to dismantle the antiquated precept that formerly served as the
metric for evaluating adaptations: the Fidelity Theory.
The Fidelity Theory, which once served as the guiding principle within the
realms of Adaptation Studies, stipulates that the appraisal of adaptations hinges upon
their adherence to the source material. Central to this perspective is the assertion that the
success of an adapted work hinges upon its fidelity to the original text. Notwithstanding
its historical prominence, the evolutionary currents that have swept through adaptation
scholarship over the course of the 20th century, propelled by the scholars mentioned
above and fostered by influential journals like Adaptation, have engendered a
revaluation of the doctrine.
The inception of the journal Adaptation marked a significant milestone in the

ongoing evolution of Adaptation Studies. Since its establishment in 2008, this scholarly
platform has provided a fertile ground for countless researchers and scholars to
contribute their insights and ideas to the field. In its inaugural edition, the journal
introduced some of the most influential figures in Adaptation Studies. Their theories,
methodologies, and unique perspectives have played a pivotal role in nurturing and
advancing the discipline from its inception to the present day. These pioneering scholars
have illuminated the multifaceted dimensions of adaptations as a field of study. Their
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contributions have transcended traditional boundaries and have opened up new avenues
of exploration. Through their innovative approaches and critical insights, they have not
only enriched our understanding of the process of adaptation itself but have also
expanded the horizons of interdisciplinary discourse within Adaptation Studies. Over
the years, Adaptation has been used as a conduit for fostering dialogue, disseminating
research findings, and promoting a deeper engagement with the intricate art of
adaptation. As a result, the field has flourished, embracing diverse perspectives and
methodologies that continue to shape its trajectory. The ongoing collaboration between
Adaptation and the academic community has reinforced the field’s resilience and
ensured its continued growth and relevance.
Linda Hutcheon is recognized as one of the foremost scholars in the field. Her
seminal book A Theory of Adaptation (2006) provides a comprehensive overview of the
field and its main theoretical framework. She emphasizes the ways in which adaptations
are both creative and critical works that allow artists to (re-)interpret previous texts and
cultural forms in new and innovative ways. She considers that adaptations are a way of
participating in a larger cultural context. It is her definition of adaptations as forms of
cultural productions which embodies her within the Cultural Studies Theory. This
theory focuses on how adaptations should be analysed in consideration with cultural and
social contexts. Cultural theorists, as Hutcheon, claim that adaptations are a way of
understanding cultural aspects, ideologies, and even power relations. This theory takes
into account issues such as race, gender, class, sexuality, ideology, and origin, to judge
the value of the adapted work. Not only has Linda Hutcheon contributed to the field
supporting the Cultural Studies Theory, but also providing a three-perspective definition
of the concept “adaptation” itself:
- Adaptation as a product. Adaptations can be interpreted as a product because

they are considered a new creative work of art. Adaptors transform existing
works into new mediums or genres. Adaptation as a product, as stated by Linda
Hutcheon in her work, is “an announced and extensive transposition of a
particular work or works” (Hutcheon 7). This transposition, she says, implies a
transcoding, which can mean a shift of medium, genre, frame or context, and
ontology (Hutcheon 7-9).
- Adaptation as a process. Adaptations can also be interpreted as a process
because, as Hutcheon states, the process of adaptation involves both the “(re-
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)interpretation and (re-)creation” of a previous work into a new one (Hutcheon
8). Adaptation as a process can be seen as the different phases or steps that the
adapter takes to convey a new piece of art from the original one. All this process
usually starts with the selection of an original work or source text to be adapted,
and then on the decision of the medium or genre of the new product. Through
the process, adapters determine the degree in which the source text is going to be
present in the new work (Hutcheon 8-9).
- Adaptation as a process of reception. The new product that comes up after the
process of adaptation must be interpreted by a target audience that has its own
considerations and knowledge of the original work. The target audience is the
bridge between the original and the new product. According to Hutcheon,
adaptations are a form of intertextuality because adaptations are experienced as
“palimpsests through our memory of other works that resonate through
repetition with variation” (Hutcheon 8).
Therefore, for Linda Hutcheon adaptations can be described as transpositions

of previous work or works, acts of “appropriation/salvaging”, and an intertextual
engagement with the previous work or works (Hutcheon 8-9).
Within the sphere of Adaptation Studies, Robert Stam emerges as a prominent

and influential contributor, particularly in the realm of cinematographic adaptations. His
scholarly endeavours, notably encapsulated in his seminal work Literature and Film: A
Guide to the Theory and Practice of Film Adaptation (2000), have left a substantial
imprint. In this work, Stam offers an intricate and comprehensive exposition of the
methodologies and paradigms essential for analysing and comprehending adaptations
across diverse media. A prominent thematic aspect in Stam’s scholarship is the
significance of intertextuality. As a seminal figure within the field, Stam has laid the
theoretical groundwork for the critical exploration of film adaptations, drawing from
narratology, semiotics, and intertextuality. Central to Stam’s contributions are his
pioneering explorations of the Reception Theory and the Intertextual Theory. Reception
Theory directs its focus towards the reception and interpretation of adapted works
within their intended audience. This theoretical framework posits that the essence and
depth of adapted creations are forged through intricate interactions among the source
text, the adapted work, and the target audience. On the other hand, Intertextual Theory
accentuates the complex web of relationships interlinking disparate textual entities,
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elucidating their roles in information dissemination and mutual influence. Intertextuality
is considered as one of the most important characteristics in the study of adaptations. It
provides a vantage point for scholars to discern the ingenious ways through which
adaptations draw upon and reinterpret previous texts and cultural constructs.
Thomas Leitch is another significant figure in the field of Adaptation Studies,

notably spotlighted in his publication Film Adaptation and its Discontents (2007). This
work constitutes a critical exploration encompassing both the creative potential and the
inherent complexities that characterize adaptations. His contributions position him as an
advocate of the Reception Theory and the Auteur Theory. Within his work, he embraces
these paradigms, which take into account the diverse approaches undertaken by authors
in the adaptation process, along with the role played by the target audience in the
interpretation of the resultant adapted work. The Reception Theory, central to Leitch’s
stance, directs attention towards the relationship that exists between the adapted work
and its audience, asserting that the meaning and significance of adaptations are related
to the responses and interactions of the audience. He also aligns himself with the Auteur
Theory, a perspective that emphasizes the role of the author of the adapted work,
whether it is a writer, director, or filmmaker. Auteur theorists claim that the success of
an adaptation hinges upon the creative vision and choices of the author throughout the
adaptation process. This theory situates the creative agency of the author at the
forefront, asserting that their artistic choices significantly influence the outcome of the
adaptations.
Julie Sanders also occupies a significant role in the field of Adaptation Studies.
Her most well-known contribution has been Adaptation and Appropriation (2016).
Within this work, Sanders undertakes a comprehensive exploration of the concepts of
adaptation and appropriation, delineating their definitions clearly and precisely. Notably,
she accentuates the role played by historical and cultural contexts in the realm of
adaptations, elucidating how these intricate dimensions shape our comprehension of
cultural identity and heritage. According to Sanders, adaptation “signals a relationship
with an informing source text either through its title or through more embedded
references”, while appropriation “frequently effects a more decisive journey away from
the informing text to a wholly new cultural product and doming, often through the
actions of interpolation and critic as much as through the movement from one genre to
others”. (Sanders 35).
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In the realm of Adaptation Studies, it is essential to acknowledge the
significant contributions made by esteemed scholars such as Deborah Cartmell, Imelda
Whelehan, Kamilla Elliot, and James Naremore, among many others. These scholars
have left an indelible mark on the field, each embracing their distinctive perspectives
and innovative approaches to the study and analysis of adaptations. Deborah Cartmell
has enriched the field by exploring adaptation as a complex interplay of texts and
contexts. Imelda Whelehan has offered fresh insights into gender dynamics in
adaptations, shedding light on how these transformations reflect evolving societal
norms. Kamilla Elliott’s meticulous research has illuminated the role of the digital
media in contemporary adaptation practices, opening new ways for inquiry. Meanwhile,
James Naremore’s engagement with film adaptation has provided critical frameworks
for understanding cinematographic reinterpretations of literary works.
In conclusion, Adaptation Studies emerges as a multifaceted and dynamic

academic discipline that has emerged and evolved over the past few decades, propelled
by an escalating interest in adaptations as a cultural phenomenon. This field
encapsulates diverse theoretical frameworks and methodologies, encompassing the
traditional Fidelity Theory, alongside the Intertextual Theory, Reception Theory, Auteur
Theory and Cultural Studies Theory, among others. Some of the most prominent
scholars of the field, as they have been mentioned above, are Linda Hutcheon, Robert
Stam, Thomas Leitch, and Julie Sanders. All of them have profoundly enriched our
comprehension of how adaptations can be analysed and understood across different
media forms. In its essence, Adaptation Studies presents an intellectual conduit that
provides profound insights on how to view and understand the complex relationship that
exists among culture, history, and creativity.
1.2. Shakespeare and Adaptation
Shakesperean works have been of high interest to the field of Adaptation

Studies. William Shakespeare is regarded as one of the greatest writers in the English
language, and his works continue to be performed, read, and adapted nowadays all over
the world. From film adaptations to stage productions, novels to graphic novels; his
works have been adapted in a wide variety of ways. The relevance of Shakesperean
adaptations to the field of Adaptation Studies is provided in this section, as well as some
of the main scholars who have focused their work on Shakesperean adaptations.
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Adaptations of the different works of Shakespeare have been of interest to
Adaptation Studies since they offer an insight in the process of adapting an original or
source text into a new form. Different authors have chosen his works as the source text
of their adaptation because of their universal appeal. Characters and themes present in
his works have a universal and timeless characteristic that attracts these authors,
because that makes his plays to be easily adapted into different cultural contexts and
mediums. Of course, Shakespeare’s plays are considered canonical works of literature
with a great influence on the English language, literature, and culture.
The history of adapting Shakesperean works can be traced back to the 17th
century, an era marked by innovative transformations of his works to suit the evolving
tastes of the time. During this period, the adaptations that emerged not only retained the
essence of the original works, but also introduced modifications such as new characters,
scenes, and subplots to resonate with the contemporary issues. A notable illustration of
this phenomenon is John Dryden’s The Tempest in 1670. Dryden’s adaptation
exemplifies the artistic latitude taken in reshaping Shakesperean texts to harmonize with
the stylistic preferences and narrative inclinations of the 17th century audience. During
the 18th and 19th centuries, Shakespeare’s plays continued to be adapted, yet this phase
witnessed a shift in focus. The adaptations now aimed to enhance historical precision
and realism. An instance reflecting this shift is found in Samuel Taylor Coleridge’s 1819
adaptation of Hamlet, where the emphasis on historical accuracy and realism is a central
characteristic. At the beginning of the 20th century, the film industry was flourishing,
and that presented an innovative avenue for Shakesperean adaptations. This era
introduced a new dimension to the art of adaptation, with cinematographic
representations gaining prominence. Laurence Olivier’s adaptation of Hamlet and Orson
Welles’ adaptation of Macbeth both in 1948 are some examples of Shakesperean works
adapted into film. In the late 20th century and early 21st century, Shakesperean
adaptations have traversed diverse media forms, spurred by the advancement of
technology and the introduction of new channels of diffusion. This evolution
encompasses a multitude of expressions, including stage productions, graphic novels,
television series, and videogames.
The increasing popularity of Shakespeare’s plays and the wide diversity of

approaches that have been used in their adaptation keep reinforcing the importance,
relevance, and adaptability of the playwriter’s work. Shakespearean adaptations offer
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new ways of engaging with the themes, characters, and aesthetics of his time, but they
also reflect the change in values, concerns, and contexts of the contemporary times.
Shakesperean adaptations convey a rich and complex field of study for scholars to keep
developing new theories on the field and analysing how his greatest works have been so
widely used by authors as the source text for their adaptations.
The adaptations of his works provide an insight into issues related to fidelity,
intertextuality, and adaptations as a creative practice. There are many scholars who have
focused their work on the adaptation of Shakespeare’s works, precisely because of some
of the reasons mentioned above. These scholars explore the different ways in which his
plays have been adapted and (re-)interpreted in different forms. One of the main
contributors to this field is Deborah Cartmell, who has extensively written on
Shakesperean adaptations in film, television, and other media. In her book Adaptations:
from Text to Screen, Screen to Text (1999), she analyses the relationship that exists
between the source texts and adaptations, stating that adaptations are always in a
process of creative negotiation with their source text. Another important contributor to
Shakesperean adaptations is Kenneth Rothwell, who has contributed to the field writing
extensively on the history of Shakesperean adaptations in film and television, and
whose most relevant book is Shakespeare on Screen: an International Filmography and
Videography (2004). Douglas Lanier is worthy to be mentioned too in the field of
Shakesperean adaptations. His most relevant work is Shakespeare and Modern Popular
Culture (2007). He considers that Shakespeare’s works continue to have a huge impact
on popular culture, and that it is their adaptability and flexibility which have allowed
them to remain relevant to contemporary target audiences. Barbara Hogdon has also
created an impact in the field with her work The End Crowns: Closure and
Contradiction in Shakespeare’s History (1991) as well as Samuel Crowl with his work
Shakespeare at the Cineplex: the Kenneth Branagh Era (2003). These authors, and
many others, have helped to the establishment of Shakesperean adaptations as a rich and
complex field of study within Adaptation Studies.
1.3. Adaptations of Macbeth. Macbeth on Screen
Macbeth, authored by the famous playwright William Shakespeare, stands as

one of his most celebrated and enduring works. This timeless tragedy delves into
profound themes, including ambition, power, guilt, and the inexorable force of fate. Its
12
resonance and literary significance have catapulted it into the realms of canonical
literature. Its enduring appeal has generated a rich tapestry of adaptations across diverse
artistic mediums. This expansive landscape spans television, film, theatre, opera, and
literature. These adaptations serve as a testament to the play’s enduring relevance and
ability to captivate audiences across centuries and cultures. In the upcoming section, a
summary of the tragic plot will be provided, delving into its intricate character
dynamics and pivotal elements. Furthermore, there is an exploration of the myriad
adaptations of Macbeth with a particular emphasis on its cinematic incarnations. These
film adaptations provide a lens through which it can be discern how the play’s timeless
themes continue to resonate and evolve in the modern age.
Macbeth is a tragedy written by William Shakespeare in 1606. This tragedy

tells the story of Macbeth, a nobleman in Medieval Scotland. After a victory in a battle
against some rebels of Scotland, Macbeth and Banquo, another general of the King of
Scotland, meet three witches who predict their future. They predict that Macbeth will be
named Thane of Cawdor and King of Scotland, and that Banquo will not be king, but
will beget kings. Once they have left the three witches, Macbeth and Banquo are
informed of the recent decision of King Duncan to name Macbeth with the title of
Thane of Cawdor in order to honour him for his courage in battle. The first prophecy is
fulfilled and Macbeth wonders what will happen with the second one. He writes a letter
to his wife with the news about his possible future, and both become obsessed with it.
Together, they plan how to murder King Duncan, and, in that way, they assure that the
prophecy will be fulfilled. After killing Duncan and being named King of Scotland,
Macbeth goes mad and he is now afraid of the prophecy that the three witches have for
Banquo: if Banquo will beget kings, that meant that Macbeth will not have a dynasty, so
he decided to kill Banquo and his son, failing to kill the last one. Disturbed by his evil
deeds, Macbeth goes to find the three witches again to know what his future will be
now. The witches warn Macbeth about Macduff, Thane of Fife, but tell him that only a
man who is not “of woman born could defeat him and that he will not be defeated until
Birnam Wood comes to Dunsinane Castle. This new prophecy reassures Macbeth’s
confidence. But in England, Malcolm, Duncan’s son, is recruiting an army and Macduff
joins him. This act is considered by Macbeth as treason, and he kills Macduff’s wife and
children. Seeing the madness of her husband, Lady Macbeth commits suicide and
Macbeth is now alone, without support because he is considered a tyrant and a despot
13
by all the Scottish people. Once Malcolm has recruited enough soldiers for his army,
they attack Macbeth’s castle. The army goes through Birnam Wood and advances to the
castle with boughs cut from there, so half of the last prophecy of the witches is fulfilled.
But Macbeth is calmed because he knows that no man can be born out of a woman.
What he did not know is that Macduff was “untimely ripped” from his mother’s womb,
and he finally kills Macbeth in battle. The prophecies of the witches are fulfilled and
now Malcolm has become King of Scotland.
While Macbeth has experienced numerous adaptations across different

mediums, the focus of this paper is rooted in the exploration of its cinematographic
adaptations. Noteworthy amongst these adaptations are Macbeth (1948) by Orson
Welles, Throne of Blood (1957) by Akira Kurosawa, La Tragedia de Macbeth (1966) by
Pedro Amalio López, Macbeth (1971) by Roman Polánski, Macbeth (2005) by Mark
Brozel, Macbeth (2006) by Geoffrey Wright, Macbeth (2015) by Justin Kurzel, and The
Tragedy of Macbeth (2021) by Joel Coen. Each of these films draws from the source
text, William Shakespeare’s Macbeth, as their foundation. Yet, all of them are wholly
new works whose cultural background has influenced the way in which the original
written form is transformed into a new form: cinematographic representation. The
forthcoming section of this paper will focus on the analysis of two concrete adaptations:
Justin Kurzel’s Macbeth (2015) and Joel Coen’s The Tragedy of Macbeth (2021). The
selection of these two adaptations is chosen because of their temporal proximity to the
present era, thus underscoring their relevance and resonance within the contemporary
discourse.
2. Analysis
In the following section, a complete and exhaustive analysis of both

adaptations, Macbeth by Justin Kurzel and The Tragedy of Macbeth by Joel Coen, will
be developed. After analysing both films, a comparison on how the adaptation of the
source text has been carried on them will be provided.
14
2.1. Justin Kurzel’s Macbeth
Justin Kurzel’s cinematographic adaptation of Macbeth stands as a markedly

stylized adaptation of William Shakespeare’s dramatic composition. is movie was
released in 2015. It is one of the most contemporary adaptations of the Shakesperean
film, that was published back in 1606. Kurzel’s adaptation resonates in such
contemporary audiences because it explores themes of war, violence, and psychological
development and trauma; themes that were present back in the 17th century, but that are
still present in our days. His adaptation acts also as a reflection on the timeless impact
that war, ambition, and guilt have on the human psyche. Since its release, Kurzel’s
adaptation has elicited a spectrum of critical evaluations, attesting to its capacity to
provoke diverse responses. Nonetheless, despite the array of opinions it has garnered,
Kurzel’s film holds its ground as a seminal illustration of the adaptive potential inherent
within Shakespeare’s timeless narrative. Kurzel’s film encapsulates a nuanced interplay
between fidelity to the source material and the creative autonomy necessary for
innovative reinterpretation. It has won and it has been nominated for many different
awards, including: CinEuphoria Awards for Best Actor – International Competition,
Goya Awards for Best European Film, Empire Awards for Best British Film and Best
Actor, Sitges - Catalonian International Film Festival for Best Motion Picture, etc
(www.imdb.com).
Figure 1
15
The basis of Kurzel’s adaptation resides in its pronounced emphasis on
psychological realism. This emphasis plunges the audience into the intricate realms of
the characters’ inner struggles and motivations. Coupled with this emphasis is the
meticulous orchestration of visual imagery and sound effects, which engender an
immersive and evocative sensory experience. Significantly, Kurzel’s adaptation also
ventures into thematic and textual departures from the original play. The interplay
between fidelity and reinterpretation generates an artistic dialogue between the past and
present, encouraging a nuanced engagement with both iterations. Through the process
of adaptation, the director combined a series of aspects related with the narrative
structure, themes present in the film, his own personal intention, an specific visual
aesthetics, and the concrete representation of the characters of the original work which
make Kurzel’s Macbeth a transformative work that resonates with contemporary
viewers, thereby fostering a heightened comprehension of Shakespeare’s play and its
multifaceted characters. The film’s artistic choices and innovative storytelling enkindle
a new lens trough which to contemplate the narrative’s timeless themes and characters,
reflecting both the enduring resonance of Shakespeare’s works and the malleable
potential of adaptations to enrich our understanding of literary legacies. Justin Kurzel’s
film Macbeth is a cinematographic adaptation of the well-known tragedy of William
Shakespeare’s play. In his work, Kurzel preserves some of the most representative
features of the original work while he instils his own directorial vision. Although the
screenplay retains the poetic cadence of the tragedy, there are substantial changes and
adjustments made for and to increase the cinematographic impact. Justin Kurzel’s
choice of retaining these representative features of the tragedy allows the film to be
used as both a tribute to the original and source material, as well as an innovative and
completely new cinematographic experience.
A notable feature that Justin Kurzel adeptly preserves in his cinematographic

adaptations is the representative five-act structure, a huge defining feature of the
original play. This structural framework serves as a foundational scaffold upon which
the entire narrative of the film is meticulously erected. By retaining this chronological
framework Kurzel upholds the inherent intensity in Shakespeare’s tragic progression.
Just as Shakespeare’s construction accentuated the climatic crescendo of the narrative,
Kurzel’s fidelity to the five-act structure amplifies the emotional crescendo within the
film. Kurzel’s narrative approach keeps the tension of Shakespeare’s tragic progression
16
while potentiating cinematographic techniques and resources to enhance an emotional
impact on the target audience.
In Justin Kurzel’s adaptation, Macbeth, which is portrayed by Michael

Fassbender, is a tormented man. Fassbender’s portrayal adeptly captures the profound
inner conflict stemming from Macbeth’s ambition, intricately interwoven with the guilt
of his actions. The convergence of Fassbender’s performance and Kurzel’s directorial
vision engenders a touching portrayal of Macbeth’s psychological descent. In parallel,
Marion Cotillard’s portrayal of Lady Macbeth assumes a multifaceted demeanour,
weaving together a complex amalgam of traits including manipulation, vulnerability,
and ambition. The characterization of Lady Macbeth by Cotillard transcends traditional
gender boundaries, encompassing emotions conventionally associated with masculinity.
This nuanced portrayal contributes to the delineation of Lady Macbeth’s journey
towards a state of psychological unravelling and eventual madness. Kurzel’s adaptation
encapsulates an intricate exploration of these characters, reframing their complexities
through a contemporary lens. The performances by Fassbender and Cotillard converge
with the director’s creative interpretations to amplify the character’s internal conflicts
and psychological development.
The prominent thematic motifs present in both Justin Kurzel’s cinematographic

adaptation, and the original literary work are rooted in the overarching themes of
ambition, power, and moral degradation. Kurzel’s directorial endeavour accentuates the
intricate interplay of these themes, with a particular emphasis on the psychological toll
exacted by ambitions and guilt. This narrative treatment creates a heightened immersive
experience for the audience, as they are invited to traverse the characters’ journey into
decay. Kurzel’s film acutely probes the multifaceted ramifications on the human psyche,
echoing contemporary apprehension concerning the repercussions stemming from the
unchecked pursuit of power and avarice. The narrative not only examines the external
manifestations of these themes but delves deeper into their internal and psychological
repercussions on the characters. The portrayal of moral decay and its visceral impacts is
transmuted into a tangible experience for the viewers through the medium of cinema.
Justin Kurzel’s discerning selection of visual aesthetics in his film embodies a

masterful fusion of darkness and beauty, orchestrating a symphony of visual elements
that resonate with captivating appeal. This distinctive amalgamation resonates as a
17
unique and singularly immersive encounter for the audience. Kurzel harmonizes these
dimensions, evoking a synesthetic experience that resonates both viscerally and
emotionally. Combining the Scottish landscapes, mist and shadows, and the colour
palette used in the film, Kuzel is able to visually represent this intensity of the
Shakesperean tragedy.
His movie was released in 2015. It is one of the most contemporary adaptations
of the Shakesperean film, that was published back in 1606. Kurzel’s adaptation
resonates in such contemporary audiences because it explores themes of war, violence,
and psychological development and trauma; themes that were present back in the 17th
century, but that are still present in our days. His adaptation acts also as a reflection on
the timeless impact that war, ambition, and guilt have on the human psyche.
3.2. Joel Coen’s The Tragedy of Macbeth
Joel Coen’s film The Tragedy of Macbeth is a fresh and contemporary

adaptation of one of the Shakespeare’s most famous works. One of the most striking
features of Coen’s work is its use of sound and visuals to create a unique atmosphere.
One of the most relevant visual characteristics of the film is that it is shot in black and
white. His adaptation is a prime example of how filmmakers can take a classic work of
literature and adapted it in a way that it creates a whole new work, which is fresh,
relevant, and engaging for contemporary audience.
Figure 2
18
Joel Coen’s cinematographic adaptation of William Shakespeare’s Macbeth
adeptly achieves an equilibrium between preserving the presence of the original work
and infusing the director’s unique interpretation into the film. While the film adheres to
the foundational narrative structure, Coen interweaves his artistic perspective,
transposing the tale into a Western backdrop. This transformation serves as a striking
example of how a well-known narrative can be adapted and how to invite audiences to
engage with a classical canonical text with a complete new light. The presence of the
original text in the film underscores its homage to the tragedy, yet Coen introduces a
fresh contextualization that resonates with the Western milieu. There are several reason
why this film reminds of a Western as the cinematic style, using the black-and-white
cinematography, expansive landscapes, and wide-angle shots; the use of iconic Western
elements, such as a sense of isolation, and desolate landscapes; the costumes and
settings, including hats and long coats; the themes of power and violence; and the
character archetypes, portraying Macbeth as a conflicted antihero. In this way, Coen’s
film demonstrates the transformative capacity of artistic reinterpretation. By imbuing
the narrative with a modern thematic framework, he reinvigorates the classical
narrative, rendering it accessible and captivating for the target audience.
Coen’s strategic manipulation of the narrative architecture imparts a distinct

and individual cadence of the story. As it has been stated before, the relocation of the
narrative to a Western backdrop affords an opportunity for the adaptation of the
foundational text to suit the new context. Coen’s selection of narrative constructs allows
him to explore the themes of ambition, power, and guilt, which are the main themes
present in the Shakesperean tragedy. He adapts them in a way that harmonizes with his
unique artistic perspective.
The director adeptly encapsulates the essence of the original characters from
the tragedy while infusing them with the Western archetypes. Denzel Washington’s
interpretation of Macbeth delineates a morally ambivalent gunslinger who is dealing
with the feelings of both ambition and inner turmoil. On the other hand, Frances
McDormand’s portrayal of Lady Macbeth channels and grounds the intricacies of
ambition, manipulation, and culpability. By transposing these characters into the
Western milieu, the director demonstrates a fusion of their intrinsic Shakesperean
characteristics with the emblematic facets of the Western genre.
19
Coen’s cinematographic adaptation encapsulates an intricate tapestry of
thematic elements that mirror, as in the Shakesperean tragedy, the notions of ambition
and power dynamics. However, he masterfully adapts these themes to harmonize with
the American West landscape. In this reinvented narrative, Coen explores issues such as
individualism, lawlessness, and power pursuit, thereby unearthing a new and
contemporary perspective on the inherent human struggles that were also present in this
tragedy of the 17th century. By orchestrating this thematic transposition, Coen’s
adaptation gives the viewers an opportunity to embark themselves on a profound
journey to contemplate and reconsider the timeless presence of these themes in our
society.
The film’s visual aesthetics emerges from the amalgamation the evocative
Western milieu, the desolate landscapes, and the atmospheric cinematography. This
visual aesthetic is used by the author to explore the psychological and moral turmoil of
the characters. Coen juxtaposes the iconography of the Western genre with the tragic
essence of Shakespeare’s work to create an atmosphere that is perceived as an entire
new artistic work.
The film’s exploration of ambition, guilt, lawlessness, and human decay

reflects contemporary concerns within a historical context. Coen’s interpretation raises
questions about power dynamics and the intricacies of human nature and psychology.
These thematic currents resonate with the modern audience which is familiar with both
the Shakesperean tragedy and the Western genre. In this cinematographic adaptation,
Coen not only reinvents the narrative of Macbeth within the American West, but also
creates a thoughtful convergence of timeless and contemporary human dilemmas.
3.3. Comparison of the Adaptations by Justin Kurzel and Joel Coen of Shakespeare’s
tragedy Macbeth
Selected for analysis in this paper due to their alignment with contemporary
sensibilities, these two films hold prominence in their close adaptation to the present
time. Justin Kurzel’s Macbeth, released in 2015 and featuring Michael Fassbender and
Marion Cotillard, is set within the 11th century Scotland. Six years later, in 2021, Joel
Coen unveiled his film The Tragedy of Macbeth, starring Denzel Washington and
Frances McDormand. Both films remain rooted in the same historical epoch, drawing
their narrative structure and primary dialogues directly from Shakespeare’s original
20
work. Despite this share foundation, the divergence between these adaptations is stark.
Each director embarked on the interpretative journey and adaptation process with
different aims and perspectives, culminating in two wholly different cinematographic
compositions.
In this section, in order to provide a comparative examination of the

adaptations, the following aspects will be analysed: narrative structure, themes, personal
choices of the directors during the adaptation process, visual aesthetics, and characters
and performances. This analysis is conveyed in order to demonstrate the multiple
differences between these adaptations, showing how they ingeniously transform the
timeless tragedy into two new cinematographic works, underscoring the potential of
film reinterpretation of classical and canonical literary works.
3.3.1. Narrative Structure
The narrative structure is the backbone of storytelling in films, shaping the way
a story unfolds and engages its audience. It encompasses the arrangement of events,
characters, and themes to convey a meaningful and cohesive tale. From linear
chronology of classical narratives to the non-linear or fragmented structures, the choices
made in structuring a film profoundly impact interpretation.
Concerning narrative structure, Justin Kurzel’s Macbeth meticulously preserves

the classical five-act structure inherent to the Shakesperean tragedy. This framework
captures the trajectory from ambition to guilt, culminating in inevitable tragedy. On the
other hand, Joel Coen’s adaptation undergoes a transformative reconfiguration in line
with the Western milieu. Coen recalibrates the sequence of events drawn from the
original composition in order to emphasize the thematic elements of the Western motif.
The way the two directors adapted the original narrative of the tragedy into their own
perspective underscore the power that adaptations have to explore and create different
narratives of the same work of art: a text in this particular case.
3.3.2. Themes
Delving into the themes present on these films, there is not a huge difference
between them, since both adaptations represent themes of ambition, power dynamics,
guilt, and moral decay, all themes intrinsic to Shakespeare’s canonical play. The
21
thematical resonance is unmistakable, revealing an intricate thematic synergy between
the original material and its contemporary adaptations. While the thematic tapestry
shares motifs, it is the execution and representation of them in the films which diverge.
Kurzel’s adaptation navigates these themes by immersing the audience within the
psychological evolution of the central characters. This exploration delves into the
intricacies of their motivations, internal conflicts, and emotional landscape. Kurzel’s
emphasis on psychological portrayals creates an intimate engagement with the
character’s moral dilemmas, fostering empathy while dissecting the human complexities
of ambition and its consequences.
Macbeth kneels down by the boy’s side, fixed by the sight. He removes the young boy
soldier’s dog tags and attaches them to his belt, where it joins the dog tags of the other
fallen men. Then gently places rocks over the boy’s eyes. Just as he did for his son.
MACBETH
this supernatural soliciting
cannot be ill; cannot be good:--
if ill, why hath it given me earnest of success,
commencing in a truth? I am thane of Cawdor.
If good, why do I yield to that suggestion
whose horrid image doth unfix my hair,
and make my seated heart knock at my ribs,
against the use of nature?
Present fears
are less than horrible imaginings.
Macbeth looks around: everywhere, his exhausted men are sleeping.

MACBETH
If Chance will have me King, why, Chance may crown me, Without my stir.
Macbeth takes out a bloody dagger and places it on the boy’s chest, folding his
hands over it in a ceremonial pose.
22
(Kurzel)
On the other hand, Coen’s adaptation ventures into the thematic labyrinth
through the lens of the American frontier – a perspective that provides new dimensions
to the recurrent themes. His exploration resonates with the socio-historical context of
the American frontier, weaving individualism, lawlessness, and the pursuit of power
within the thematic framework.
Banquo leaves. Alone now:
MACBETH:
This supernatural soliciting
cannot be ill, cannot be good. If ill,
why hath it given me earnest of success.
Commencing in a truth?
Crossing the tent to sit at a small camp table
MACBETH:
I am thane of Cawdor.
If good, why do I yield to that suggestion
whose horrid image doth unfix my hair
and make my seated heart knock at my ribs
against the use of nature? Present fears
are less than horrible imaginings.
My thought, whose murder yet is but fantastical,
Shakes so my single state of man that function
Is smothered in surmise and nothing is
But what is not.
His attention is taken by a scuffle and raised voices outside.
If chance will have me king, why, chance may crown me

23
Without my stir.
And then reaches for a piece of rolled paper and a quill
pen. The wind returns, rattling the canvas of the tent all
around him like a different kind of thunder.
(Coen)
In essence, both adaptations remain anchored to the Shakesperean themes, yet

they provide diverse interpretations through different cinematographic prisms. In
addition, the shared thematic of the films shows the timelessness of Shakespeare’s
theme, which resonate across centuries and diverse narrative contexts.
3.3.3. Personal Choices of the Directors and their main aim
As it has been previously stated, adaptations can be understood as a process, in

the sense that the process of adaptation involves the reinterpretation of a previous work.
Adaptation as a process encompasses al the different phases or steps that the author of
the new work takes to convey his or her new piece of art from the original work. In this
section, the personal choices that the directors took during the process of adaptation is
going to be discussed, as well as the main aim that they had when readapting the
Shakesperean tragedy.
Kurzel aimed to represent in his film a sense of historical realism. Obvious in

the meticulous selection of filming locations across Scotland and England, his
cinematographic canvas strives to mirror the geographical and architectural milieu
emblematic of the 11th-century setting. This aim is also evidenced by the elaborate
costumes, sets, and performances. Some of the places where used when filming
Macbeth (2015) were the Ely Cathedral in England; Bamburgh Castle in
Northumberland; the Hankley Common lands in Elstead (Surrey), etc.
24
Figure 3: Ely Cathedral
Figure 4: Ely Cathedral on the film
Figure 5: Bamburgh Castle
25
Figure 6: Bamburgh Castle on the film
Figure 7: Hankley Common land
Figure 8: Hankley Common land during the film
27
On the other hand, Coen’s reinterpretation traverses a different trajectory,
embracing a minimalist aesthetic that evokes to theatrical representations and the
Western motif that has been previously mentioned. This calculated restraint converges
the viewer’s attention towards the narrative’s core elements: performances and the story.
Figure 9: Banquo in The Tragedy of Macbeth
Figure 10: Characters on horse in Macbeth's Castle in The Tragedy of Macbeth
28
Figure 11: Macbeth and Lady Macbeth in The Tragedy of Macbeth
3.3.4. Visual Aesthetics
Visual aesthetics in films play a pivotal role in shaping the overall

cinematographic experience. This aesthetics encompass a broad range of elements,
including production design, costume, setting, lighting, and colour palette. All these
elements contribute to the film’s look, feel, and emotional impact. In the following
section, the differences on the visual aesthetics of both Kurzel’s and Coen’s adaptations
will be provided. The divergence in the visual approach becomes readily apparent in the
works of these directors.
Kurzel’s adaptation is focused on realism, projecting the world through a lens

steeped in brutality, consistently fixated on the field of battle throughout the entirety of
the film. Leveraging the backdrop to his advantage, Kurzel uses the Scottish highlands
as a central and commanding stage for this narrative. Every element, from the
meticulously crafted settings to the authentic costuming and performances,
synergistically amalgamates to firmly emplace the film within a distinct temporal and
spatial context. The hallmark of his creation resides in the captivating and ambiance-
laden cinematography, skilfully exploiting the Scottish topography and an understated
colour spectrum to dominate the visual palette. Employing techniques like slow-motion
and flashbacks, Kurzel amplifies the emotional resonance embedded within his
reinterpretation.
29
Figure 12: Scottish field of battle in the film
Figure 13: Macbeth and Scottish warriors in the film
Figure 14: Lady Macbeth
30
On the other hand, Coen’s adaptation adopts a contrary stance. While the era of
the narrative could be aligned with Kurzel’s film, the minimalist design of the sets and
the adoption of monochromatic visual aesthetic introduce a deliberate ambiguity to the
setting. The locale’s precise configuration is obscured, in stark contrast to the vividly
articulated backdrop of Kurzel’s work. Coen’s film elicits, as it has been previously
stated, a milieu more reminiscent of the Western genre that the 11th century Scottish
milieu that underscores the original material.
Figure 15: People reunited in Macbeth's Castle
Figure 16: Macbeth reunited with the murderers
31
Figure 17: sight from Macbeth's Castle
In summary, the distinctive cinematic sensibilities of these directors are

manifestly striking in the visual portrayal of their respective adaptations. Kuzel’s
version capitalizes on a visceral and authentic portrayal of the historical conflict, using
the Scottish terrain as a narrative point, while Coen’s approach imbues the tale with a
sense of enigmatic temporality, employing austere design choices and a black-and-white
visual schema to evoke a milieu that reminds of Western cinema rather than a historical
time back in Scotland.
3.3.5. Characters and performances
Although the visual styles might be the most noticeable difference between
these adaptations, the characters are also a relevant difference to take into account when
analysing these two films. Despite sharing a common cast of characters, the
interpretative choices undertaken by each director engender different character
performances, thereby shaping the audience perception.
3.3.5.1. The character of Macbeth and Lady Macbeth in Kurzel’s and Coen’s
adaptations
In William Shakespeare’s Macbeth, the titular character, and his wife, are one
of the most complex and psychologically rich couples. Set against a backdrop of
ambition, power, and moral decay, these characters undergo deep transformations; their
moral unravelling and descent into darkness expose the fragility of their souls and the
corrupting influence of unchecked ambition. Macbeth, a brave and respected Scottish
general, initially embodies loyalty and bravery. However, once the witches’ prophecies
plant the seeds of ambition in his mind, the character undergoes a radical shift. It drives
32
him to commit unspeakable acts of treachery and murder. The internal struggle that
Macbeth is dealing with is one of the central themes of the play. Lady Macbeth, his
formidable wife, is a character who defies traditional gender roles. She is an influential
force behind Macbeth’s rise to power, urging him to commit those unspeakable acts.
Her determination and manipulation are initially her strengths, but as the play goes by,
those same strengths lead to her own psychological deterioration. In the following
section, the characters of Macbeth and Lady Macbeth in the cinematographic
adaptations of Justin Kurzel and Joel Coen is provided.
Under Kurzel’s interpretation, Michael Fassbender and Marion Cottillard

assume the roles of these characters. Both Fassbender and Cottillard, with their brilliant
performances, were able to transpose those main characteristics of the Macbeths from
the original play to the screen. With their performances, and all the cinematographic
elements that Kurzel used in the confection of his film, the main aim of the director,
which as it has been previously stated was to amplify the characters’ internal conflicts
and psychological development, was achieved. His adaptation begins with an added plot
that is not even present on the original tragedy: the funeral of the Macbeth’s child. This
prologue serves to establish the emotional fragility of both protagonists. The depiction
of the instability of both characters is presented by the director to then introduced a
subsequent decline in their psychological stability. By framing Macbeth and Lady
Macbeth as grieving parents, Kurzel makes the audience to sympathise a little bit more
with them and portrays the whole story as more intimate and natural.
A small boy lies motionless on a raised platform. His eyes stare up at us, lifeless. He has
flowers in his hair and surrounding his shrouded body, his hands folded on his chest. A
meagre crowd stands in front of this pyre. To the fore are Macbeth and Lady Macbeth.
Their faces ashen with grief. Behind them we see Banquo and his son Fleance. Lady
Macbeth walks forward with a sprig of red berries. Places them reverently on her young
son’s dead chest, fighting back tears. After her, Macbeth carefully lays oyster shells over
the boy’s eyes. Then he scoops up a handful of black Scottish soil and pours it over his
son’s chest. Over his folded hands. Sending him to rest. The platform is ablaze, the
smoke disappearing into the vast landscape. Macbeth’s arm is around Lady Macbeth.
33
Their faces stricken. She lays her head on his shoulder, seeking solace. He watches the
embers and smoke of the pyre rise into the darkening sky, transfixed by the sight1.
. On the other hand, in Coen’s adaptation, the characters of Macbeth and Lady
Macbeth are starred by Denzel Washington and Frances McDormand. Despite adhering
to the same dialogues, their performances offer a complete different interpretation.
Notably, both actors are older, a fat deliberately harnessed by Coen to align with his
cinematic purpose. Their portrayals manifest as inherently theatrical, relying in
Shakespeare’s original tragedy; presented as tragic and immoral figures that condemned
themselves as a result of their own ambition.
MACBETH: If it were done when ‘tis done, then ‘twere well
It were done quickly: if th’assassination
Could trammel up the consequence and catch
With his surcease success: that but this blow
Might be the be-all and the end-all – here,
But here, upon this bank and shoal of time,
We’d jump the life to come. But in these cases
We still have judgment here, that we but teach
Bloody instructions, which, being taught, return
To plague th’inventor: this even-handed justice
Commends th’ingridients of our poisoned chalice
To our won lips. He’s here in double trust:
First’ as I am his kinsman and his subject,
Strong both agains the deed: them, as his host,
Who should against his murderer shut the door,
1
Script of Macbeth (2015) by Justin Kurzel. First scene in the film.
34
Not bear the knife myself. Besides, this Duncan
Hath borne his faculties so meek, hath been
So clear his great office, that his virtues
Will plead like angels, trumpet-tongued, against
The deep damnation of his taking-off:
And pity, like a naked new-born babe,
Striding the blast, or heaven’s cherubin, horsed
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
That tears shall drown the wind. I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o’erlaps itself
And falls on th’other.
[…]
LADY MACBETH: Was the hope drunk
Wherein you dressed yourself? Hath it slept since?
And wakes it now, to look so green and pale
At what it did so freely? From this time
Such I account thy love. Art thou afeard
To be the same in thine own act and valour
As thou art in desire? Wouldst thou have that
Which thou esteem’st the ornament of life,
And live a cowar in thine own esteem.
Letting ‘I dare not’ wait upon ‘I would’.
35
Like the poor cat I’th’adage?
MACBETH: Prithee, peace.
I dare do all that may become a man:
Who dares do more is none.
LADY MACBETH: What beast was’t, then,
That made yo break this enterprise to me?
When you durst do it, then you were a man:
And to be more than what you were, you would
Be so much more the man. Nor time nor place
Did then adhere, and yet you would make both:
They have made themselves, and that their fitness now
Does unmake you. I have given suck, and know
How tender ‘tis to love the babe that milks me:
I would, white it was smiling in my face,
Have plucked my nipple from his boneless gums.
And dashed the brains out, had I so sworn as you
Have done to this.
MACBETH: If we should fail?2
Macbeth stands across the square in the dark, looking in at the bright interior of the tent
from outside the chapel. Inside the feasting tent, Duncan is laying ornamental wreathes
2
Act I, Scene VII from William Shakespeare’s Macbeth (Shakespeare 34-36)
36
on the heads of some of the children who sung to him. They stare up with awestruck
admiration. He is their god. Unassailable. Macbeth’s eyes draw to his wife, who is
kneeling amongst the children. She smiles, full of happiness in their innocent company.
MACBETH
If it were done, when ’tis done, then ’twere well
It were done quickly. If th’assassination
Could trammel up the consequence, and catch
With his surcease success... That but this blow
Might be the be-all and the end-all here –
But here, upon this bank and shoal of time,
We’d jump the life to come.
He turns away, his mind torn with indecision:
MACBETH
But in these cases,
We still have judgement here; that we but teach
To plague th’inventor: this even-handed Justice
Commends th’ingredience of our poison’d chalice
To our own lips.
Macbeth hits his head softly into the chapel wall. Going over the argument again and
again.
MACBETH
He’s here in double trust:
First, as I am his kinsman and his subject,
Strong both against the deed; then as his host,
37
Who should against his Murderer shut the door,
Not bear the knife myself.
Besides, this Duncan
So clear in his great office, that his virtues
Would plead like angels, trumpet-tongu’d, against
The deep damnation of his taking-off.
He draws in a breath, his mind settled at this.
MACBETH:
I have no spur
Vaulting ambition, which o’erleaps itself
And falls on th’other.
[…]
LADY MACBETH
Was the hope drunk,
Wherein you dress’d yourself? Hath it slept since?
And wakes it now, to look so green and pale
At what it did so freely?
She turns to face him:
LADY MACBETH
From this time
To be the same in thine own act and valour,
38
As thou art in desire? Would’st thou have that
And live a coward in thy own esteem,
Letting ‘I dare not’ wait upon ‘I would’?
MACBETH
Pr’ythee, peace.
I dare do all that may become a man;
Who dares do more, is none.
LADY MACBETH
What beast was’t then,
That made you break this enterprise to me?
When you durst do it, then you were a man;
And, to be more than what you were, you would
Be so much more the man. Nor time, nor place,
Did then adhere, and yet you would make both:
They have made themselves, and that their fitness now
Does unmake you.
She takes his face in her hands, beseeching.
LADY MACBETH (quietly)
I have given suck, and know
How tender ‘tis to love the babe that milks me.
I would, while it was smiling in my face,
Have pluck’d my nipple from his boneless gums,
And dash’d the brains out, had I so sworn
39
As you have done to this.
MACBETH
If we should fail?
LADY MACBETH
We fail. But screw your courage to the sticking-place,
And we’ll not fail.
She kisses him, almost nervous. Macbeth kisses her back, more forcefully.3
MACBETH
If it were done when ‘tis done, then ‘twere well
It were done quickly.
He opens them from fists to palm. Hard and calloused but scrubbed clean. Distant
music has faded up, with the sound of merrymaking. He is standing where we left him
but it is now night. A light from a distant window fades up on his face and shadows
move across it.
MACBETH
If th’ assassination
Could trammel up the consequence, and catch
With his surcease success, that but this blow
Might be the be-all and the end-all — here,
But here upon this bank and shoal of time,
We’d jump the life to come.
He stands in the dark in the courtyard outside the banquet hall—For the first time we
see him not in his armor but in a tunic. He turns toward the music and the distant
window, and we follow him as he approaches it:
3
From Justin Kurzels Macbeth (2015), scene matching the Act I, Scene VII from the original work.
40
MACBETH
But in these cases
We still have judgment here, that we but teach
To plague th’ inventor. This evenhanded justice
Commends th’ ingredience of our poisoned chalice
To our own lips. He’s here in double trust:
First, as I am his kinsman and his subject,
Strong both against the deed; then, as his host,
Who should against his murderer shut the door,
Not bear the knife myself.
Through the window we see dark shapes in silhouette, projected and distorted on the
imperfect glass.
MACBETH
Besides, this Duncan
So clear in his great office, that his virtues
Will plead like angels, trumpet-tongued against
The deep damnation of his taking-off;
Shadows cross his face, cast from the merrymakers inside the banquet hall, passing to-
and-fro across the window.
MACBETH
And pity, like a naked newborn babe
Striding the blast, or heaven’s cherubim horsed
Upon the sightless couriers of the air,
41
Shall blow the horrid deed in every eye
That tears shall drown the wind.
Behind him we see a dark form approaching from deeper in the courtyard.
MACBETH
I have no spur
Vaulting ambition, which o’erleaps itself
And falls on th’ other—
[…]
She draws him away from the window into a darker corner of the courtyard, into the
shadows of the bell tower.
LADY MACBETH
Was the hope drunk
Wherein you dressed yourself? Hath it slept since?
And wakes it now to look so green and pale
At what it did so freely? From this time
To be the same in thine own act and valor
As thou art in desire? Wouldst thou have that
And live a coward in thine own esteem,
Letting “I dare not” wait upon “I would,”
Like the poor cat I’ th’ adage?
MACBETH
Prithee peace.
42
I dare do all that may become a man;
Who dares do more is none.
LADY MACBETH
What beast was’t then
That made you break this enterprise to me?
When you durst do it, then you were a man;
And to be more than what you were, you would
Be so much more the man. I have given suck, and know
How tender ‘tis to love the babe that milks me:
I would, while it was smiling in my face,
Have plucked my nipple from his boneless gums
And dashed the brains out, had I so sworn as you
Have done to this.
MACBETH
If we should fail?4
. The texts previously introduced are part of Shakespeare’s original work Act I,
Scene VII, and the scripts of the films in which this particular scene is represented.
These texts have been introduced in this paper to compare how a specific scene from the
original work is represented differently on both films. While Kurzel’s script provides
much more relevant information about the characters and the performance of the actors,
Coen’s provides more information about the setting, lighting, and other cinematographic
resources. This is an important fact to highlight because it shows how the directors used
the resources available for them in order to achieve the specific aim: to provide a
psychological portrayal of the characters’ so the audience could engage in a more
entertaining way with a classical and canonical work, as it is in the case of Justin
Kurzel; and to rely more on the original tragedy, combining different film resources to
4
From Joel Coen’s The Tragedy of Macbeth (2021), matching the original Act I, Scene VII
43
convey a whole new work that allows the audience to interpret the original version of
the English playwright, as it is in the case of Joel Coen.
3.3.5.2. The characters of the Three Witches in the original work, Kurzel’s and Coen’s
adaptation
The final section of this paper will encompass an examination of the portrayal
of the Three Witches in William Shakespeare’s play Macbeth, juxtaposed with their
cinematographic depictions in film adaptations, specifically in Justin Kurzel’s Macbeth
and Joel Coen’s The Tragedy of Macbeth. The Three Witches, a seminal component of
Shakespeare’s narrative, will serve as the focal point of a comparative analysis on how
these characters are portrayed in both films. These characters have also been selected as
a character of analysis because, after the examination of different adaptations of
Macbeth, the conclusion drawn is that the characters of the Three Witches is one of the
most distinctive elements in all and every adaptation.
3.3.5.2.1. Different adaptations of the Three Witches on Screen
In this section, the following films will be discussed in order to convey an

analysis on how the characters of the Three Witches have been adapted differently in
each film. The films that are going to be presented are: Macbeth (1948) by Orson
Welles, Throne of Blood (1957) by Akira Kurosawa, La Tragedia de Macbeth (1966) by
Pedro Amalio López, Macbeth (1971) by Roman Polanski, Macbeth (2005) by Mark
Brozel, and Macbeth (2006) by Geoffrey Wright. In the following section, the films
Macbeth by Justin Kurzel and The Tragedy of Macbeth by Joel Coen will be analysed
thoroughly.
After analysing the films mentioned above, the conclusion is that there are
some cinematographic works that provided a faithful representation of the Three
Witches from the original work, and some that reinterpreted these characters under their
own perspective.
In Macbeth (1948) by Orson Welles, the Three Witches are portrayed as old
ugly ladies, with long, grey, tousled hair. Their age can be interpreted by their corporal
expressions, but the faces of these women are not shown during the film.
44
Figure 18: The Three Witches in Orson Welles’ adaptation
In La Tragedia de Macbeth by Pedro Amalio López, the Three Witches are

represented in the same way: old, ugly ladies with long hair and warts in their faces,
which gives them even more sense of ugliness.
Figure 19: The Three Witches in Pedro Amalio López's adaptation
In Macbeth by Roman Polanski, the Three Witches are an old blind lady, an
adult woman, and a young girl. They are also presented with long tousled hair, which
again gives them a sense of ugliness and uncleanness.
45
Figure 20: The Three Witches in Roman Polanski's adaptation
In all these films, on the first appearance of the witches, when they predict
Macbeth and Banquo’s future for the first time; they are always presented making
spells, singing songs, preparing potions with disgusting ingredients; surrounded by an
atmosphere of mystery that is potentiated by different cinematographic elements.
FIRST WITCH: Thrice the brinded cat hath mewed.
SECOND WITCH: Thrice and once the hedge-pig whined.
THIRD WITCH: Harpier cries: ‘tis time, ‘tis time!
FIRST WITCH: Round about the cauldron go:
In the poisoned entrails throw.
Toad, that under cold stone
Days and nights has thirty-one
Sweltered venom sleeping got,
Boil thou first I’th’charmed pot.
They dance around the cauldron
ALL: Double, double, toil and trouble:
Fire burn, and cauldron bubble.
(Shakespeare ACT VI, SCENE I)
This ugliness which characterized them, and the mysterious and paranormal
behaviour is one of the main reasons why these characters are related to the
46
supernatural. These witches are not recognized as a being from this word. Their nature
is not clear to Macbeth and Banquo, but still, they want to know about them.
To the Witches
BANQUO: That man may question? You seem to understand me
By each at once her choppy finger laying
Upon her skinny lips. You should be women.
And yet your beards forbid me to interpret
That you are so.
MACBETH: Speak if you can: what are you?
[…]
BANQUO: The earth hath bubbles, as the water has,
And these are of them. Whither are they vanished?
MACBETH: Into the air: and what seemed corporal
Melted as breath into the wind. Would they have stayed.
BANQUO: Were such things here as we do speak about?
Or have we eaten on the insane root
That takes the reason prisoner?
(Shakespeare ACT I, SCENE III)
All these adaptations have in common two main characteristics: the characters
of the Three Witches is adapted directly from the original work, without much
differences; and the portrayal of the Witches in these films is the archetypical witch: an
old, ugly, angry women; which is related to the evil, preparing some potions and spells
in order to manipulate human (men)’s lives for malicious reasons.
Throne of Blood (1957), directed by Akira Kurosawa, is a Japanese adaptation

of William Shakespeare’s Macbeth. This tragedy is adapted into feudal Japan of the 16th
47
century. The plot is almost the same, but instead of thanes and kings, there are generals
and a feudal lord. This film tells the story of an ambitious Japanese warrior who betrays
his lord in order to become Lord of the Spider’s Web Forest Castle. This film
adapatation, which is considered by a lot of critics to be one of the best adaptations of
the tragedy, maintains the character of the mysterious being that forecasts the future of
Washizu (Macbeth) and Miki (Banquo). This mysterious being here is represented by an
old lady who, again surrounded by a mysterious atmosphere, is found locked up in a
cage singing songs. In this case, the Witch is also portrayed as the abject: Washizu and
Miki also ask if she is “a human spirit or a spirit of the world” (Kurosawa). The
characters of the Three Witches here take on a profoundly atmospheric and supernatural
role. Kurosawa imbues the Witches with an eerie and otherworldly presence. They
symbolize the inexorable force of fate and destiny. These figures exist just on the
fringes of reality, manipulating events and human emotions. Their influence amplifies
the sense of doom that pervades the film, serving as a haunting reminder of the
consequences of unchecked ambitions and the inescapable grip of destiny in the context
of feudal Japan.
Figure 21: The Witch in Kurosawa's Throne of Blood
The British adaptation Macbeth (2005), directed by Mark Brozel, is an

innovative representation of the tragedy that, instead of being based in the Medieval
Scotland, is set on the 21st century in a three-star restaurant. This film tells the story of a
chef who assassinates the owner of the restaurant where he was working in to obtain the
ownership of the now prestigious restaurant. In the case of this cinematographic
48
adaptation, the character of the Three Witches is change to three dustmen. Their
representation is not even quite close to that of the other adaptations. They are regular
men, working on a normal job, and the similarities that exist among these men and the
other witches is that they also appear singing and predicting Macbeth’s and Banquo’s
future. But they are not portrayed as mysterious as the other witches, nor dangerous.
They are portrayed as normal men in a normal situation, and the characters of Macbeth
and Banquo do not fear them; they are not afraid of their nature because it is the same as
theirs. It might not be a coincidence that in the first film in which the characters of the
Three Witches is not portrayed as something mysterious, malicious, and related to the
evil, the representation of these character is interpreted as men.
Figure 22: The Three Dustmen

The Australian adaptation Macbeth (2006) by Geoffrey Wright also maintains
the main plot of the Shakesperean tragedy, but again adapted into contemporary
contexts. It is adapted into the atmosphere of the gangster Melbourne. This film tells the
story of a gang which has just fought another gang of the city. Macbeth is one of them,
and after being seduced by three women and his own wife, his ambition grows, and he
no aims to be the leader of the gang. The characters of the Three Witches is also
maintained in this film, but they are presented as three young girls, with long red hair.
They wear student’s uniform and are hypersexualized. They are portrayed as attractive,
hot, and seductive women. In this particular case, temptation is represented by sexuality,
and the Three Witches are portrayed by the archetype of the femme fatale: “a seductive
woman who lures men into dangerous or compromising situations” and “a woman who
attracts men by an aura of charm and mystery” (https://www.merriam-webster.com/). As
the definition of the concept states, in this case the Three Witches make use of their
sexual attractiveness in order to tempt Macbeth.
49
Figure 23 The Three Witches of Geoffrey Wright
3.3.5.2.2. The cinematographic adaptations of Macbeth by Justin Kurzel and Joel Coen.
After providing some evidence of how different adaptations of the same

character can be done, in this section an exhaustive analysis of how Justin Kurzel and
Joel Coen portray in their films the characters of the Three Witches will be provided.
Kurzel’s reinterpretation of the Three Witches transcends their mere status as

supernatural figures and elves into the complex interplay between patriarchal anxieties,
societal norms, and female agency. In his adaptation, Kurzel preserves the contextual
relevance of the Witches as symbols of malevolent forces. Yet, the director amplifies the
portrayal to represent the relationship existent among power, gender, and societal
expectations. He creates an atmospheric tapestry of darkness and foreboding,
emphasizing the Witches’ capacity to influence events and the destinies of Macbeth and
others. Through their prophecies and ethereal presence, the Witches emerge as female
characters that manipulate men’s fate, their actions being intertwined with the human
ambition and frailty that drives the narrative’s tragic trajectory. By portraying this dark
atmosphere, Kurzel emphasizes the Witches’ capacity to influence events, therefore
magnifying their centrality within the narrative. The eerie and grotesque aesthetics
assign to the Witches shows their divergence from societal norms, reflecting the early
modern perception that women who deviated from prescribe roles are inherently evil.
The Witches’ atypical appearance and uncanny abilities is used as a visual manifestation
of women challenging the patriarchal order. Kurzel’s visual language thus becomes a
commentary on the societal mechanisms that sought to marginalize and demonize
women who dare to defy the established gender norms.
50
Mist swirling around the mountains. Four dark forms stand watching the ceremony from
afar. Women, all of different ages. One is a child, as young as the dead boy. Their faces
are scarified with unnatural marks -- the decorations of a pagan belief. They hold
primitive bone charms in their hands. They speak quietly. Calmly.
OLDER WITCH
When shall we three meet again, in thunder lightning or in rain?
MIDDLE WITCH
When the hurley burley’s done, when the battle’s lost and won.
YOUNGER WITCH
Where the place? Middle witch upon the battlefield, there to meet with macbeth.
OLDER WITCH
Fair is foul and foul is fair. Hover through the fog and filthy air.
And at that, the mist engulfs them as we -blackout:
In his film, the characters of the Witches are not represented in the exact same
way as in the Shakesperean work: there is an incorporation of a fourth witch, a little
girl, but she does not articulate a word in all the film. In fact, in some scenes, one of
them is also seen carrying a baby. These four witches have different ages, and that could
have been a choice made by Kurzel to represent all stages in the life of a women:
childhood, adolescence, adulthood, and older age. By including this spectrum of age,
Kurzel potentially underscores the timeless nature of female agency and power,
suggesting that the challenges that women face in asserting themselves persist
throughout various life stages and across historical epochs.
Figure 24: The Four Witches of Kurzel
51
In conclusion, Kurzel’s reinterpretation of the Three Witches creates a portrayal
that resonates with both the anxieties of the past and contemporary perspectives,
weaving together thematic threads that reverberate across time. Through his adaptation,
he delves into the complexities of gender dy dynamics, power structues, and societal
expectations. He balances the Witches’ roles as agents of temptation and ambition with
a deeper exploration of societal fears surrounding female autonomy and power. By
embracing the complexity of these characters and their connection to patriarchal
dynamics, Kurzel’s adaptation serves as a thought-provoking commentary on the
mutable nature of gender roles, the influence of power, and the ever-evolving interplay
between society, narrative, and artistic expression. As the Witches traverse the
boundaries of history, text and film; they remind the audience that stories are never
static, they are living entities that adapt, transform, and mirror the complexities of
human experience and expression.
Coen’s adaptation unveils a distinct artistic vision that converges and diverges
from traditional portrayals, highlighting both historical and contemporary implications
of the Witches’ portrayal. His unique cinematic language introduces new layers of
meaning and invites the audience to engage with the material in new ways. One
remarkable departure that Coen’s adaptation makes from traditional representations is
his portrayal of the Witches as a singular entity, embodying the collective essence of the
Three Witches in Shakespeare’s original work. This creative choice holds symbolic
significance, suggesting a unity of purpose and agency among women, which resonates
with the theoretical framework of feminism and its focus on collective empowerment.
Coen’s approach serves to amplify the Witches’ role as not just individual characters,
but as an interconnected force that shapes the narrative’s trajectory. Coen’s
cinematographic choices create a visual dialectic that encourages the audience to reflect
on the historical context of gender norms and th enduring influence of these norms in
contemporary society. The portrayal of the Witches is particularly emblematic. Coen’s
depiction refrains from giving off overt malevolence, avoiding the traditional grotesque
imagery associated with witches. Instead, they emanate an enigmatic aura, aligning with
the notion of the witches as otherworldly beings with a role to play in influencing
Macbeth’s tragic end. This portrayal resonates with the perspective that considers
witches as symbolic of larger forces at play within society, rather than mere
embodiments of evil. Coen’s adaptation subverts the Three Witches traditional
52
association with evil and instead positions them as agents of fate and catalysts for
Macbeth’s inner turmoil. In this context, the Witches become conduits of destiny, their
action catalysing the internal struggles and moral dilemmas faced by Macbeth. Their
interactions with Macbeth and the broader narrative emphasize the malleability of
human morality under external influences. By positioning the Witches as agents of fate
and catalysts for Macbeth’s inner turmoil, Coen explores the intricate ways in which
women’s actions and influence can ripple through history. By weaving together the
enigmatic aura of the Witches, and the narrative’s exploration of ambition and fate,
Coen creates a tapestry that invites the viewers to critically engage with the issues of
gender, power, and human agency. The adaptation’s representation of the Three Witches
resonates with the complexity of women’s experience, challenges conventional norms,
and shows the ongoing relevance of feminist discourse within the realm of
Shakesperean (re-)interpretation. Coen’s adaptation underscores the power of adaptation
itself as a platform for revaluation, reinterpretation, and reinvention. By exploring the
depth of the Three Witches’ portrayal, Coen invites the audience to contemplate the
interconnected nature of history, feminims, and cinematic artistry. As the Witches
traverse the realms of adaptation and representation, their enigmatic presence reminds
us that narratives ar not static entities, but dynamic forces that continue to evolve and
resonate within the ever-changing landscape of culture and creativity.
4. Conclusions
Throughout this paper the captivating world of Adaptation Studies, a field that
delves into the intricate relationships between the original works and their interpretation
across various artistic mediums, has been explored. By examining the theoretical
framework, chronological development, notable scholars, fundamental theories, and the
evolving significance of Adaptation Studies, a better comprehensive understanding of
its multifaceted nature and its profound impact on the way creative works are perceived
and analysed was gained. Transitioning to the realm of Shakesperean adaptations, the
choice to focus on Shakespeare’s enduring influence is a testament to his unmatched
literary legacy. The exploration of why Shakespeare remains a prominent figure in
Adaptation Studies reveals his universal themes, complex characters, and malleable
narratives. The examination of specific screen adaptations, such as Justin Kurzel’s
Macbeth and Joel Coen’s The Tragedy of Macbeth allowed to dive deep into their
53
distinct creative choices during the adaptation process. By analysing the structure,
narrative approaches, character portrayals, thematic emphases, and visual aesthetics of
each film, insight into the director’s interpretation and their unique strategies to create
Macbeth on screen was gained.
All the analysis undertook during the confection of this final degree thesis led to
the following conclusion: Adaptation Studies is a field of study that will continue to
grow and therefore to provide new ways in which adaptations will be developed. Since
it began to flourish back in the 20th century until now, specially with the development of
cinema, series, and the internet, there are millions and millions of artistic works ready to
be reinterpreted and adapted in so many different ways. Special attention was given in
this thesis to the Shakesperean tragedy of Macbeth because of its importance in the field
of Adaptation Studies. The two cinematographic works chosen for this work reinforced
the previous idea of adaptation as a tool for creating complete new works, without the
appropriation of the original text. The characters of the Three Witches was also analysed
thoroughly because of the so different representations of them in different adaptations.
These characters, among all the other characters in the original work and the tragedy, is
significant, because it represents human fear for the unknown, for ambition, for guilt.
. In essence, this term paper went through the captivating landscapes of Adaptation
Studies, Shakesperean adaptations, and the intricate analysis of specific cinematic
adaptations of Macbeth. Adaptation Studies has proven to be a crucial lens through
which to examine the fluidity of storytelling across time, space, and artistic mediums.
5. Bibliography
Bluestone, George. Novels into Film. University of California Press, 1968.
Cartmell, Deborah y Imelda Whelehan. Adaptations: from Text to Screen, Screen to Text.
Routledge, 1999.
Cartmell, Deborah, Timothy Corrigan y Imelda Whelehan. «Introduction to Adaptation.»

Adaptation: the Journal of Literature on Screen Studies 1.1 (2008): 1-4.
Cerezo, Marta. «Critical Approaches to Shakespeare.» UNED, 2005.
Crowl, Samuel. Shakespeare and the Cineplex: The Kenneth Branagh Era. Ohio University Press,
2003.
54
de Beauvoir, Simone. The Second Sex. Vingae Books, a Division of Random House, 1949.
Dusinberre, Juliet. Shakespeare and the Nature of Women. MacMillan, 1975.
Hodgon, Barbara. The End Crowns All: Closure and Contradiction in Shakespeare's History.
Princeton University Press, 2014.
https://www.merriam-webster.com/. s.f.
Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, Taylor and Francis Group,
2006.
I, King James. Daemologie. 1597.
Jardine, Lisa. Still Harping on Daughters: Women and Drama in the Age of Shakespeare. 1983,
s.f. https://philpapers.org/rec/JARSHO.
La Tragedia de Macbeth. Dir. Pedro Amalio López. 1966.
Louiso, Todd, Jacob Koskoff y Michael Lesslie. «MACBETH: BEST ADAPTED SCREENPLAY.» THE
WEINSTEIN COMPANY, s.f.
Macbeth. Dir. Mark Bronzel. 2005.
Macbeth. Dir. Justin Kurzel. 2015.
Sanders, Julie. Adaptation and Appropriation. New York: Routledge, 2016.
Shakespeare, William. «Macbeth.» Barcelona: Penguin Random House Grupo Editorial, 2015.
The Tragedy of Macbeth. Dir. Joel Coen. 2021.
Throne of Blood. Dir. Akira Kurosawa. 1957.
www.imdb.com. s.f.
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GRADO EN

FACULTAD DE FILOSOFÍA Y LETRAS

Victoria Saavedra López

EL/LA TUTOR/A, EL/LA ALUMNO/A,

Gracias por enseñarme ser.

Este trabajo de fin de grado indaga en la influencia e importancia de los Estudios de

Simultaneously, the captivating appeal of William Shakespeare’s literary

Among the multitude of Shakespeare’s timeless plays, Macbeth stands as a

This paper unfolds through an in-depth examination of two notable

Thus, this exploration embarks on a journey through the theoretical foundation

The intertwining aspects of Adaptation Studies, Shakesperean Adaptations, and

In summation, this expansive analysis transcends the confines of academic analysis,

In the upcoming section, the theoretical framework of Adaptation Studies will

1.1. Adaptation Studies

The realm of Adaptation Studies constitutes an academic domain that is centred

Although Adaptation Studies is considered as “recent” in the academic

(Cartmell, Corrigan y Whelehan 1-2)

In this first number, these scholars elucidate a multitude of rationales

The inception of the journal Adaptation marked a significant milestone in the

- Adaptation as a product. Adaptations can be interpreted as a product because

Therefore, for Linda Hutcheon adaptations can be described as transpositions

Within the sphere of Adaptation Studies, Robert Stam emerges as a prominent

Thomas Leitch is another significant figure in the field of Adaptation Studies,

In conclusion, Adaptation Studies emerges as a multifaceted and dynamic

1.2. Shakespeare and Adaptation

Shakesperean works have been of high interest to the field of Adaptation

The increasing popularity of Shakespeare’s plays and the wide diversity of

1.3. Adaptations of Macbeth. Macbeth on Screen

Macbeth, authored by the famous playwright William Shakespeare, stands as

Macbeth is a tragedy written by William Shakespeare in 1606. This tragedy

While Macbeth has experienced numerous adaptations across different

In the following section, a complete and exhaustive analysis of both

Justin Kurzel’s cinematographic adaptation of Macbeth stands as a markedly

A notable feature that Justin Kurzel adeptly preserves in his cinematographic

In Justin Kurzel’s adaptation, Macbeth, which is portrayed by Michael

The prominent thematic motifs present in both Justin Kurzel’s cinematographic

Justin Kurzel’s discerning selection of visual aesthetics in his film embodies a

3.2. Joel Coen’s The Tragedy of Macbeth

Joel Coen’s film The Tragedy of Macbeth is a fresh and contemporary

Coen’s strategic manipulation of the narrative architecture imparts a distinct

The film’s exploration of ambition, guilt, lawlessness, and human decay

In this section, in order to provide a comparative examination of the

3.3.1. Narrative Structure

Concerning narrative structure, Justin Kurzel’s Macbeth meticulously preserves

this supernatural soliciting

cannot be ill; cannot be good:--

if ill, why hath it given me earnest of success,

commencing in a truth? I am thane of Cawdor.

If good, why do I yield to that suggestion

whose horrid image doth unfix my hair,

and make my seated heart knock at my ribs,

against the use of nature?

are less than horrible imaginings.

Macbeth looks around: everywhere, his exhausted men are sleeping.

Banquo leaves. Alone now:

This supernatural soliciting

cannot be ill, cannot be good. If ill,

why hath it given me earnest of success.

Crossing the tent to sit at a small camp table

If good, why do I yield to that suggestion

whose horrid image doth unfix my hair

and make my seated heart knock at my ribs

against the use of nature? Present fears