Rationale:
I have come up with the idea to create a movie based on the core structure and themes of the play Blithe Spirit by Noel Coward. This movie will be a major romance and more shifted toward gaining the public’s acclaim rather than achieving critical success. The audience we will be targeting are young teenage girls and women. Romantic movies have always been primarily liked by females. It gives them an excuse to get together with their friends and to dream about getting swept of their feet by their dream guy. Women are known to be very emotional and this romantic movie will have them laughing at some scenes and crying at others. They will fall in love with Cameron’s (protagonist) beautiful personality and show compassion towards the tough decision he is faced with. Girls will flock to see this movie. They will be drawn to the complicated plot and complex relationships.
Adaption: Blithe Spirit is comic play about writer Charles Condomine who receives a visit from his first wife, Elvira. Unfortunately, Charles is now married to a woman named Ruth, and Elvira is a ghost. I adapted the play into a movie changing several aspects. For example, the book takes place in the London countryside during the 1940’s and the movie is set in modern day New York City. The ages of the characters were also altered to appeal to the targeted women audience. In the play Madame Arcati, the eccentric medium who summons Elvira. In the movie, this character is adapted to Cameron’s friend Andrew. He resembles Madame Arcati because he gives him the advice to have relationships with both Elsa and Rebecca which is similar to the medium bringing back Charles and Elvira’s relationship. Although there are many things altered the themes in both t...
... middle of paper ...
...o find himself. The lyrics, “The dog days” are the very hot days in August when dogs lie in the heat with nothing to do because of the oppressive. That is the literal meaning of the phrase, however metaphorically the lines of the song “The dogs day are over,” means that moments of the past are being left behind and it is now time to act and to move on. Just like the songs lyrics, Cameron is escaping the city to find himself and going forward with his life. The line, “Leave all your love and your longing behind you. Can't carry it with you if you want to survive.” means that Cameron must leave behind Rebecca and Elsa. He can’t bring them with him, if he wants to achieve his goal of moving on. The songs fuels Cameron as well the audience with motivation, telling them that the best things in life lie ahead.
Visually, Raging Bull is an artistic fiasco. The visual style adopted by director Martin Scorsese and cinematographer, Michael Chapman seems to be falling to pieces. For instance, the last fight scene- in which Sugar Ray Robinson pummels Jake La Motta depicts ludicrous images; however, the continuity editing allows viewers to sense of it. During this shot, Scorsese shows a punch from the perspective of Robinson’s glove as it strikes La Motta’s face. In the seconds that follow, we see blood spray out of La Motta’s head, splattering the spectating audience. This bizarre shot makes the blood splatter look like a sprinkler, as if a bucket load of blood came out of Jake's head. The reason why this shot is so paradoxical
One of the most celebrated plays in history, “Romeo and Juliet”, was written by William Shakespeare in the late 16th century. It is a story about two lovers that have to meet in secret because of an ongoing family feud. Tragically, because of their forbidden love Romeo and Juliet take their lives so they can be together. In 1997, a movie was adapted from the play “Romeo and Juliet”, directed by Baz Lurhmann. However, as alike as the movie and the play are, they are also relatively different.
Into the Wild, a 2007 nonfiction film based on New York Times bestseller book written
In the movie, the ghost first appears to be a statue. He brings about no feelings of horror in the viewer. This sets the viewer up for grave disappointment as in the play it is s...
Jane Campion's film version of Henry James's novel, The Portrait of a Lady, offers the viewer a sexually charged narrative of a young naive American girl in Victorian era Europe.
In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she
In her essay, “Women's Cinema as Counter-Cinema”, Claire Johnston proposed a path to creating Women's cinema to counter the numerous dominant male-oriented mainstream films. In it, she argues that you must first understand the ideology that is found in mainstream movies, and the ways that women are portrayed within it. She determined that there were two principle concepts to understand: how women are visually represented, and the effect that women have upon the creation of meaning within the film. The how refers to all the film techniques used in the creation of the image: lighting, hair, makeup, choice of lens, choice of wardrobe, and the framing of the camera shot are some examples. These are often done to increase the attractiveness of the female character, and creates a sign for the audience to accept and decode. The effect of the female character is limited to her physical traits and the impact that her presence has on the male protagonist, typically to send him off on an Oedipal journey.
Romeo and Juliet, written by William Shakespeare, is a tragic love story about two young lovers who are forced to be estranged as a result of their feuding families. The play is about their struggle to contravene fate and create a future together. As such, it was only a matter of time before Hollywood would try and emulate Shakespeare’s masterpiece. This had been done before in many films. Prominent among them were, Franco Zeffirelli’s 1968 “Romeo and Juliet” and Baz Luhrmann’s 1996 “William Shakespeare’s Romeo & Juliet.” Both films stay true to the themes of Shakespeare’s original play. However, the modernised Luhrmann film not only maintains the essence of Shakespeare’s writings, Luhrmann makes it relevant to a teenage audience. This is done through the renewal of props and costumes, the reconstruction of the prologue and the upgrading of the setting, whilst preserving the original Shakespearean language. Out of the two, it is Luhrmann who targets Romeo & Juliet to a younger audience to a much larger extent than Zeffirelli.
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
Baz Lurhmann’s creation of the film Romeo and Juliet has shown that today’s audience can still understand and appreciate William Shakespeare. Typically, when a modern audience think of Shakespeare, they immediately think it will be boring, yet Lurhmann successfully rejuvenates Romeo and Juliet. In his film production he uses a number of different cinematic techniques, costumes and a formidably enjoyable soundtrack; yet changes not one word from Shakespeare’s original play, thus making it appeal to a modern audience.
“The most filmed of all plays, ‘Romeo and Juliet’, with its universal themes… remains uniquely adaptable for any time period,” (Botnick, 2002). Directors Franco Zeffirelli (1968) and Baz Luhrman (1996) provide examples of the plays adaption to suit the teenage generation of their time. Identifying the key elements of each version: the directors intentions, time/place, pace, symbols, language and human context is one way to clearly show how each director clearly reaches their target audience. Overall however Luhrman’s adaptation would be more effective for capturing the teenage audience.
The first two lines in her song say, “You ain’t nothing but a hound dog, Been snoopin’ ‘round my door.” This line is comparing a dog to a man in a relationship, more specifically a hound dog. A hound dog is known for its unique skill of chasing and hunting down its prey. Going right into the song, she is referring to the man as a dog chasing its prey and cannot be controlled. When she says the second part of this line, she is referring to the man trying to be discrete while cheating on her. The last line of the first verse states, “You can wag your tail, but I ain’t gonna feed you no more.” This is an example of another metaphor of man and a dog because dogs become extremely clingy when it is time to feed them.
In the opening verse of the song, the speaker discusses the need to see her childhood home at least once more before moving on with her life. She shares with the current homeowner some of her experiences while growing up in the house. For instance, she says, “I know they say you can’t go home again, but I just had to come back one last time.” This shows that the speaker realizes that returning “home” is going to be a different experience than it was when she lived there, but she cannot resist the temptation of a final visit to the “house”. The speaker says that “Up those stairs in that little back bedroom, is where I did my homework and learned to play guitar. And I bet you didn’t know, under that live oak, my favorite dog is buried in the yard.” This indicates some of the significant memories the speaker has of her time in the house, such as honing her...
Romance movies have this weird love that goes on in them. Some characteristics include; sex scenes, lovey dovey affection, hate (sometimes) that ends up in love, marriages, divorces, new found love, and really anything that can happen between a man and female, female and female, man and man, whichever someone prefers. Romance movies are often seen as “chick flicks” while some may agree, others disagree. The ONLY reason they are considered “chick flicks” is because it’s a romance and theirs sappy love. There is no real evidence of it being labeled as a “chicks only flick”, men actually prefer to watch some of those movies. It doesn’t make them weak, homosexual acting, a pansy, or anything else men might call other men. Romance movies and novels are highly bought in stores. Who knows? It may be bought by your future husband or wife. And, since this paper is describing the differences, parents might look at this and decide whether or not to show the kids these types of
I’ve seen a lot of films, and with a lot of different genres. But I don’t think that romantic films are pretty good. They are too boring. The good films are action or comedy films, but the best films are action and com-edy films mixed together. That’s why I’ve chosen the film Taxi 2. It’s a French produced film, with a lot of action and comedy. It’s a pretty new film, and I saw it in the cinema last month. I’ve looked very much forward to see that film, because Taxi was very good too. It took only 5 weeks to get 10 mil-lion Frenchmen into the cinema. Just for watching Taxi 2.