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This article aims at exploring how Shakespeare's Hamlet and British actor-director Kenneth Branagh's film adaptation of it express the issue of political strategy of espying into others' hidden secrets by means of "seeing unseen." Court politics of the early modern England was dominated by the mechanism of surveillance which could establish the prevailing atmosphere of gazing and generalized espionage. This is a political mechanism since it is based on the maxim that knowledge is power. Shakespeare's Elsinore court is placed in a period of power transition after the sudden death of Old Hamlet, and thus structured in terms of multiple sights which represent an anxiety to see the hidden secrecy of one's political rivals. Hamlet and Claudius perform the same business: both are indulged in disclosing each other's inner truth to gather advantageous information for political purposes. The play-within-the play is a pivotal moment that Hamlet gains power over Claudius since Hamlet's gazing power takes over Claudius's by rendering the latter the object of accusing gaze.
Kenneth Branagh is generally regarded as today's preeminent Shakespeare filmmaker who revived the commercial interest in Shakespeare movies in 1990s after their temporary decline in 80s, and who, breaking free from Laurence Olivier and Orson Welles's elitist art-house tradition, transformed Shakespeare into a source of contemporary popular movie genre. His Hamlet is a popular movie not only in that he incorporates Hollywood styles, but in that it likes to show a contemporary issue of political voyeurism working in the larger process of the historical cycle of rise and fall of a nation. The film conveys a political behavior that 'everyone spies on everyone.' Hamlet acts out of the Ghost's revelation of top secrets of his death to verify Claudius's crimes; Claudius is also busy disclosing Hamlet's "antic disposition" to have access to what "is" behind the "seems." Hamlet's "To be or not to be" scene provides best example of how political espionage works in Elsinore court. The state hall is structured by surrounding mirrored rooms, and all the mirrors are two-way mirrors which as a political device represent the political strategy of "seeing unseen," and which have spies behind them. Everyone has been hiding something, and everyone seeks to find it because the things on the surface and beneath it are different. But, it is Fortinbras who finally takes over Denmark by letting his troops move through the mirrored doors and finally tear down the statue of Old Hamlet. He has been looming throughout the film hiding himself in snow and fog, and nobody in Elsinore recognized or gave attention to his existence. He is the very person who answers to the opening question of the text "Who's there?" and who eventually succeeds in carrying out the strategy of "seeing unseen."
Kenneth Branagh is generally regarded as today's preeminent Shakespeare filmmaker who revived the commercial interest in Shakespeare movies in 1990s after their temporary decline in 80s, and who, breaking free from Laurence Olivier and Orson Welles's elitist art-house tradition, transformed Shakespeare into a source of contemporary popular movie genre. His Hamlet is a popular movie not only in that he incorporates Hollywood styles, but in that it likes to show a contemporary issue of political voyeurism working in the larger process of the historical cycle of rise and fall of a nation. The film conveys a political behavior that 'everyone spies on everyone.' Hamlet acts out of the Ghost's revelation of top secrets of his death to verify Claudius's crimes; Claudius is also busy disclosing Hamlet's "antic disposition" to have access to what "is" behind the "seems." Hamlet's "To be or not to be" scene provides best example of how political espionage works in Elsinore court. The state hall is structured by surrounding mirrored rooms, and all the mirrors are two-way mirrors which as a political device represent the political strategy of "seeing unseen," and which have spies behind them. Everyone has been hiding something, and everyone seeks to find it because the things on the surface and beneath it are different. But, it is Fortinbras who finally takes over Denmark by letting his troops move through the mirrored doors and finally tear down the statue of Old Hamlet. He has been looming throughout the film hiding himself in snow and fog, and nobody in Elsinore recognized or gave attention to his existence. He is the very person who answers to the opening question of the text "Who's there?" and who eventually succeeds in carrying out the strategy of "seeing unseen."
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