Representing Invisible Politics of Shakespearian Plays in Orson Welles’ Chimes at Midnight

The full construction of the main character Falstaff, as a figure in Shakespearean movie adaptation Chimes at Midnight, exists through intertextual relationship between film and original Shakespearian plays. In this study, I argue that much material is non-existent film, but relies its availability audience’s own mind watching film. By merely hinting an incomplete material, recreates entire feeling seemingly complete with political preoccupations. This illusion text shown isolated battle scenes do not contribute to development impotent military imageries However, where Falstaff’s foils are presented: Earl Worcester’s lies dying lamentations Hotspur, more evidently meant give impression significantly adapt plays’ motives really concern itself with. 
 Keywords: Orson Wells, Intertextuality, Shakespeare, 1 Henry IV, 2 IV