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Abstract: Tom Stoppard, being a prominent author of contemporary British theatre, deals with some cinema projects as well. He is the writer and director of the 1990 drama film Rosencrantz and Guildenstern are Dead, based on his own famous 1966 play. Moreover, he is the author (in collaboration with Marc Norman) of the screenplay Shakespeare in Love for the Oscar-winning movie (1998). Both projects are actually concerned with Shakespeare in cinematography, though Rosencrantz and Guildenstern are Dead can be regarded as twice an adaptation: on the one hand, Stoppard’s play is an adaptation (a pastiche — to be more concrete) of Hamlet; on the other hand, the screenplay is a cinematographic adaptation of the original theatre play. As for Shakespeare in Love, the film can be identified as ‘melodrama’, but there are many literary allusions to Shakespeare’s Twelfth Night, Romeo and Juliet, Two Gentlemen of Verona, and Hamlet. The article analyses, to what extent Tom Stoppard as a postmodernist playwright has been doing a research to construct his Shakespeare-based films. The author of the article compares Stoppard’s literary and cinematographic Shakespearian codes, and the technique of his early and more late plays.