Baz Luhrmanns Romeo And Juliet A Postmodern Elizabethan Interpretation
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| Author | : Vera Henne |
| Publisher | : GRIN Verlag |
| Total Pages | : 13 |
| Release | : 2016-09-30 |
| Genre | : Performing Arts |
| ISBN | : 3668312036 |
Essay from the year 2015 in the subject Communications - Movies and Television, grade: 1,0, University of Brighton, language: English, abstract: Baz Luhrmann’s "William Shakespeare’s Romeo + Juliet" (1996) retells the famous story of Romeo and Juliet who fall in love but cannot be together due to their families’ old feud. In many English literature lessons this film adaptation is popular to familiarize people with William Shakespeare’s plays and language. Due to the juxtaposition of Shakespeare’s words, fast colourful pictures and teenage stars such as Leonardo DiCaprio and Claire Danes the director Baz Luhrmann claims this adaptation to be an “Elizabethan interpretation of Shakespeare”. Adapted to the modern Zeitgeist Luhrmann staged a combination of an updated version of the classic in a multimedia time and preserved traditional essential elements such as the language and main themes. The adaptation lets the cast speak the Shakespeare’s original text and combines it with fast modern video art. The combination of the Elizabethan English language and the recontextualisation of the classic love story with news, TV, swords as guns, advertisements, and ecstasy led Jane Maslin, a reviewer form the NY Times, to remark “[t]his is headache Shakespeare, but there's method to its madness“. The adaptation is widely recognized to be postmodern. This does not seem to coincide with Luhrmann’s aspiration of an “Elizabethan adaptation” of the classic dramatic love story. So the question arises: Can a postmodern interpretation be an “Elizabethan interpretation” at the same time?
| Author | : Robert Shaughnessy |
| Publisher | : Routledge |
| Total Pages | : 506 |
| Release | : 2013-05-13 |
| Genre | : Literary Criticism |
| ISBN | : 1136855033 |
Demystifying and contextualising Shakespeare for the twenty-first century, this book offers both an introduction to the subject for beginners as well as an invaluable resource for more experienced Shakespeareans. In this friendly, structured guide, Robert Shaughnessy: introduces Shakespeare’s life and works in context, providing crucial historical background looks at each of Shakespeare’s plays in turn, considering issues of historical context, contemporary criticism and performance history provides detailed discussion of twentieth-century Shakespearean criticism, exploring the theories, debates and discoveries that shape our understanding of Shakespeare today looks at contemporary performances of Shakespeare on stage and screen provides further critical reading by play outlines detailed chronologies of Shakespeare’s life and works and also of twentieth-century criticism The companion website at www.routledge.com/textbooks/shaughnessy contains student-focused materials and resources, including an interactive timeline and annotated weblinks.
| Author | : A. Cranny-Francis |
| Publisher | : Springer |
| Total Pages | : 314 |
| Release | : 2013-11-12 |
| Genre | : Social Science |
| ISBN | : 113726831X |
Technology and Touch addresses the development of a range of new touch technologies, both technologies that we reach out to touch and technologies that touch us, by exploring how we use touch to connect with and understand our world, and ourselves.
| Author | : Bodo Heil |
| Publisher | : GRIN Verlag |
| Total Pages | : 74 |
| Release | : 2004-04-20 |
| Genre | : Literary Criticism |
| ISBN | : 3638269809 |
Examination Thesis from the year 2002 in the subject English Language and Literature Studies - Literature, grade: 1,3 (A), University of Trier (English Department Trier), language: English, abstract: The paper is organised in three main parts, theoretics, application and evaluation. The first part will deal with issues necessary to fully apprehend Shakespearean moviemaking. I will examine the history of it and explain what made the two films discussed herein possible and what eventually led to them. Furthermore, I will depict the two directors’ different backgrounds and how they lead on to their individual styles. I will consider some other films that have paved the way for Zeffirelli and Luhrmann. A chapter is dedicated to the filmic realisation, which will consider the cuts, rearrangements and general approach of the films and their directors. These issues will be confirmed by the secondary literature used herein. The second part will apply these issues to single and in my opinion particularly revealing film-scenes, which will be examined to perceive Zeffirelli’s and Luhrmann’s access to the characters, early and latter scientific reception and how Zeffirelli’s approach might differ due to the times his motion picture was made in and how both may or may not have succeeded in mirroring its times. The second part will thus rely on my interpretation and less on secondary literature. The third part will try to bring these perceptions to a conclusive evaluation. These are subjective and thus liable to objection. They cannot be universally valid, but since I am dealing with art, nothing is. Luhrmann was obviously firmly affected by Zeffirelli’s work, and moreover used it as a guiding line for his film, which gives rise to the question, if he was merely an epigone, or maybe rather struck by Zeffirelli’s scenic ideas as being plausible and practical. This is a question which I shall seek to respond to, if I cannot answer it, in the progress of this paper. Furthermore, I will try to point out Morris’s2 dictum, that Shakespeare movies are an art form and a genre in their own right and should not be confused with or compared to a theatrical production of Shakespeare, but have an aesthetic language of their own. [...] 2 Morris, Peter. Shakespeare On Film. Canadian Film Institute/Institut canadien du film. Ottawa: 1972
| Author | : Carla Della Gatta |
| Publisher | : University of Michigan Press |
| Total Pages | : 455 |
| Release | : 2023-01-23 |
| Genre | : Performing Arts |
| ISBN | : 0472903748 |
Latinx peoples and culture have permeated Shakespearean performance in the United States for over 75 years—a phenomenon that, until now, has been largely overlooked as Shakespeare studies has taken a global turn in recent years. Author Carla Della Gatta argues that theater-makers and historians must acknowledge this presence and influence in order to truly engage the complexity of American Shakespeares. Latinx Shakespeares investigates the history, dramaturgy, and language of the more than 140 Latinx-themed Shakespearean productions in the United States since the 1960s—the era of West Side Story. This first-ever book of Latinx representation in the most-performed playwright’s canon offers a new methodology for reading ethnic theater looks beyond the visual to prioritize aural signifiers such as music, accents, and the Spanish language. The book’s focus is on textual adaptations or performances in which Shakespearean plays, stories, or characters are made Latinx through stage techniques, aesthetics, processes for art-making (including casting), and modes of storytelling. The case studies range from performances at large repertory theaters to small community theaters and from established directors to emerging playwrights. To analyze these productions, the book draws on interviews with practitioners, script analysis, first-hand practitioner insight, and interdisciplinary theoretical lenses, largely by scholars of color. Latinx Shakespeares moves toward healing by reclaiming Shakespeare as a borrower, adapter, and creator of language whose oeuvre has too often been mobilized in the service of a culturally specific English-language whiteness that cannot extricate itself from its origins within the establishment of European/British colonialism/imperialism.
| Author | : Sarah Hatchuel |
| Publisher | : Cambridge University Press |
| Total Pages | : 204 |
| Release | : 2004-08-12 |
| Genre | : Literary Criticism |
| ISBN | : 1139454323 |
How is a Shakespearean play transformed when it is directed for the screen? In this 2004 book, Sarah Hatchuel uses literary criticism, narratology, performance history, psychoanalysis and semiotics to analyse how the plays are fundamentally altered in their screen versions. She identifies distinct strategies chosen by film directors to appropriate the plays. Instead of providing just play-by-play or film-by-film analyses, the book addresses the main issues of theatre/film aesthetics, making such theories and concepts accessible before applying them to practical cases. Her book also offers guidelines for the study of sequences in Shakespearean adaptations and includes examples from all the major films from the 1899 King John, through the adaptations by Olivier, Welles and Branagh, to Taymor's 2000 Titus and beyond. This book is aimed at scholars, teachers and students of Shakespeare and film studies, providing a clear and logical apparatus with which to examine Shakespearean screen adaptations.
| Author | : Joseph M. Boggs |
| Publisher | : McGraw-Hill College |
| Total Pages | : 553 |
| Release | : 2008 |
| Genre | : Performing Arts |
| ISBN | : 9780073535074 |
Accompanying CD-ROM provides short film clips that reinforce the key concepts and topics in each chapter.
| Author | : Emma Smith |
| Publisher | : Vintage |
| Total Pages | : 263 |
| Release | : 2020-03-31 |
| Genre | : Literary Criticism |
| ISBN | : 1524748552 |
An electrifying new study that investigates the challenges of the Bard’s inconsistencies and flaws, and focuses on revealing—not resolving—the ambiguities of the plays and their changing topicality A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn’t tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. In This Is Shakespeare, Emma Smith—an intellectually, theatrically, and ethically exciting writer—takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd (the Spielberg and Tarantino of their day), flirting with and skirting around the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex. Instead of offering the answers, the Shakespeare she reveals poses awkward questions, always inviting the reader to ponder ambiguities.
| Author | : Jim Piper |
| Publisher | : Simon and Schuster |
| Total Pages | : 369 |
| Release | : 2014-11-18 |
| Genre | : Performing Arts |
| ISBN | : 1621534472 |
This is a book for cinephiles, pure and simple. Author and filmmaker, Jim Piper, shares his vast knowledge of film and analyzes the most striking components of the best movies ever made. From directing to cinematography, from editing and music to symbolism and plot development, The Film Appreciation Book covers hundreds of the greatest works in cinema, combining history, technical knowledge, and the art of enjoyment to explain why some movies have become the most treasured and entertaining works ever available to the public, and why these movies continue to amaze viewers after decades of notoriety. Read about such classic cinematic masterpieces as Citizen Kane, Gandhi, Midnight Cowboy, Easy Rider, True Grit, Gone With the Wind, and The Wizard of Oz, as well as more recent accomplishments in feature films, such as Requiem for a Dream, Munich, The King’s Speech, and The Hurt Locker. Piper breaks down his analysis for you and points out aspects of production that movie-lovers (even the devoted ones) would never recognize on their own. This book will endlessly fascinate, and by the time you get to the last chapter, you’re ready to start all over again. In-depth analysis and thoughtful and wide-ranging film choices from every period of cinema history will ensure that you never tire of this reading companion to film. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
| Author | : Eric Langley |
| Publisher | : OUP Oxford |
| Total Pages | : 326 |
| Release | : 2009-11-12 |
| Genre | : Literary Criticism |
| ISBN | : 0191609188 |
The subjects of this book are the subjects whose subjects are themselves. Narcissus so himself himself forsook, And died to kiss his shadow in the brook. In accusing the introspective Adonis of narcissistic self-absorption, Shakespeare's Venus employs a geminative construction - 'himself himself' - that provides a keynote for this study of Renaissance reflexive subjectivity. Through close analysis of a number of Shakespearean texts - including Venus and Adonis, Romeo and Juliet, Julius Caesar, Hamlet, and Othello - his book illustrates how radical self-reflection is expressed on the Renaissance page and stage, and how representations of the two seemingly extreme figures of the narcissist and self-slaughterer are indicative of early-modern attitudes to introspection. Encompassing a broad range of philosophical, theological, poetic, and dramatic texts, this study examines period descriptions of the early-modern subject characterised by the rhetoric of reciprocation and reflection. The narcissist and the self-slaughter provide models of dialogic but self-destructive identity where private interiority is articulated in terms of self-response, but where this geminative isolation is understood as self-defeating, both selfish and suicidal. The study includes work on Renaissance revisions of Ovid, classical attitudes to suicide, the rhetoric of friendship literature, discussion of early-modern optic theory, and an extended discussion of narcissism in the epyllia tradition. Sustained textual analysis offers new readings of major Shakespearean texts, allowing familiar works of literature to be seen from the unusual and anti-social perspectives of their narcissistic and suicidal protagonists.
