Film Versions of Shakespeare Comedies Shakespearean plays are complex, intricate pieces of work in which a diverse range of interpretations and readings can be made. This is particularly true of his comedies, where the light-hearted humour is often offset by darker, more serious undertones. In adapting these comedies it is for the director – in the cinematic context – to decide how to interpret the play and which elements are privileged and which are suppressed. This variance in interpretation
and early 21st century. Film versions of Othello made since the 1960s reflect our time's preoccupation with race. This paper will look at several film versions of Othello in this light. Filmed versions of the drama--directed by Orson Welles (1952), Stuart Burge (1965), Oliver Parker (1995), Tim Blake Nelson (2000), and Geoff Saxes (2001)--visually boost or minimize the race factor in the story, subject to the political ideas of their time. In the first Hollywood version of Othello (1952), directed
Comparing Novel and Film Version of Snow Falling on Cedars It is no easy task to create a work - through writing or film - that has an impact on society. In writing, one must discuss and analyze a relevant topic that will have an impact on the readers. One must also present stunning sensory images through words in order to create a complete understanding for the reader. In filmmaking it is not much different, but there must be striking visual imagery in combination with a fitting musical score
The Historical Trauma of Slavery in the Film Version of Toni Morrison's Beloved The film Beloved was released in 1998 to mixed reviews. The movie, based on Toni Morrison's novel, tells a ghost story from an African American perspective. It takes place only a few years after the abolishment of slavery, with the traumatic scars still fresh and unable to be healed. In the film the protagonist, Sethe, is revisited by the ghost of the daughter she murdered eighteen years earlier. I shall argue that
An Analysis of Feminist Themes in Jane Eyre and its Film Versions Concern for women's rights dates from the Enlightenment, when the liberal, egalitarian, and reformist ideals of that period began to be extended from the bourgeoisie, peasants, and urban laborers to women as well. As did most interest groups of the time, feminists gained force and stability through its writing. The period's blossoming ideas concerning women's rights were fully set forth in Judith Murray’s On the Equality of the
Comparing the Novel and Film Version of Joy Luck Club Wayne Wang's adaptation of Amy Tan's Joy Luck Club combines literary and cinematic devices by adopting the novel's narrative techniques and strengthening them through image and sound. The adaptation exemplifies not a destruction or abuse of Amy Tan's novel, but the emergence of a new work of art, not hindered but enhanced by the strengths of its literary precursor. Incorporating her family's own experiences as Chinese immigrants to the
most popular film versions portray two very different styles of this one play. Zeferelli's Romeo and Juliet was made in the 1970s, and is the film version most commonly shown in high school classrooms. The newest film version of this play is Baz Luhrmanns Romeo and Juliet. This version sets the classic story in a modern day setting. Both versions, while different stylistically, hold true to the basic story line of the play. Zeferelli’s is the older and more classical version of Romeo and Juliet
Comparing the Film and Novel Versions of Sam Hanna Bell’s December Bride If the movie based on Sam Hanna Bell’s novel December Bride is considered to be good, it is only because the novel itself is nothing short of great. Having viewed the movie on two separate occasions, some four months apart, this writer found herself to still be somewhat bewildered by a few of the events portrayed. The novel clears the Irish fog swirling around those events creating a much more solidly constructed story
The Film (Movie) Version of All Quiet on the Western Front In the movie "All Quiet on the Western Front" we see the boys almost innocent as they sit in class. The teacher in this scene is pressuring the boys to go to war. He preaches that it is their "duty" to fight. The teacher seems very pushy and strict. He is especially strict with Paul, the main character in the movie. In this particular scene, Paul is drawing a picture of a bird. In Paul's family they are glad that
A Comparison Between Film Versions of Emma and Clueless The features I will look for in both films for comparison is setting, location, lighting, costumes, props, camera angles, dialogue and weather. Emma is set in the early 20th century and Clueless in the 1990's. The director changed the era to refer to the fact that girls nowadays are more mature than young women in the early 20th century. The diversity between the locations in both films is very minor. In Clueless it is set in Beverly
A Comparison of Film Techniques of Two Film Versions of Mary Shelley's Frankenstein Mary Shelley wrote her novel 'Frankenstein' when she was just a young girl of nineteen. She wrote it in 1816, when she went on holiday with her friend, Byron. Byron was already a famous poet, and it was him who suggested that whilst they were away, they should both write a ghost story. At the time it was just a way of passing time and having fun for Mary Shelley, but little did she know that her story would
decides to make a film adaptation of the great American writer or, to be completely honest, any world's famous writer, the community of bookworms gets uptight. In order to film a masterpiece, one should be a master of camera and scene, but even that is not a guarantee. Hollywood has its laws that not many filmmakers have dared to disobey, striving both for fame and financial success, and these laws do not always work for the sake of literary works and their authors. Baz Luhrman's version of “The Great
A Comparison of the Film Versions of William Golding's Lord of the Flies We have read Lord of the Flies by William Golding (1954) and also seen the scene “the death of Piggy” in the two film versions directed by Peter Brook (1961) and Harry Hook (1994). The black and white version by Peter Brook is very close to the text since the characters look the same in the film as they are described. Harry Hooks’ intentions for this film were to make it have a lot of action and to make money from
A Comparison of Two Film Versions of the Beginning of Great Expectations Great expectations is a film about a young boy named Pip and his journey through life In this essay I am going to be talking about and comparing the openings of two film versions of the film and deciding which is most effective my first question is can Todorov's narrative theory be applied to the opening of both films and how Todorov's narrative theory is: A state ofequilibrium at the outset; 2. A disruption
who has noticed the details on both. Of course there are positive and negative aspects to such choices which Hawks makes in his film and those decisions which Hawks made from novel to movie should be examined and questioned whether they helped or hindered the production of The Big Sleep. One of the major differences, and I would argue a drawback, in the film version is the representation of the characters and the predictable ending. Looking specifically at Marlowe and Mrs. Regan, it is easy
A Comparison of the Opening Sequence in Two Film Versions of the Novel Great Expectations I am going to compare the first 20 minutes of two film versions of the novel, Great Expectations. One version is by David Lean 1946. The other version is by Alfonzo Cuaron 1999. In Lean's version and Cuaron's there is one big difference and that is that Lean's version is in black and white, while Cuaron's is in full colour. The colour projects a better effect because it is clearer and more understandable
Cuaron's Film Version of Great Expectations In this media assignment I shall be analyzing and comparing the similarities and differences of two famous directors' film versions of 'Great Expectations'. The two directors are David Lean and Alfonso Cuaron. David Lean's version was more popular and well known than Alfonso Cuaron's because Lean was the first director to actually direct 'Great Expectations'. This made it more difficult for Alfonso Cuaron because he had to bring the film up to date
[1] Why after all this time did Arthur Miller allow his play, The Crucible, to be converted to film? For decades, he refused to allow a film version because he thought movies were subordinate to the written word. Finally in the early 1990’s, he not only permitted the film version but also supported it by writing the screenplay. To answer this question we should first find out his reasons for writing the original play. Miller wrote the original play, The Crucible, in the 1950’s, which was
Jane Campion's Film Version of Henry James's The Portrait of a Lady 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. James's novel focuses on "what an exciting inward life may do for the person leading it even while it [a person's life] remains perfectly normal" (James 54). James could not or would not place into his narrative the sexual thoughts, suggestions, and
Ambiguity in The Turn of the Screw and The Innocents How successfully does the black-and-white film version of The Turn of the Screw, The Innocents (Jack Clayton, 1961), render the ambiguity of James' original text? Ambiguity, the art of deliberately creating something that can have more than one meaning, lends itself to the written word without difficulty. A written story can involve ambiguity in the characters, plot, narrative - every factor in the story can have to it a sense