Comparison between the two film versions Romeo & Juliet by Luhrmann & Zefferelli. The following task looks at the comparing & contrasting representations that have supported the understanding of Shakespeare's text. To consider the exercise here, of comparing and contrasting the films, there needs to be an understanding of the difference between Comparison- (which means to examine (two or more objects, ideas, people, etc) in order to note similarities and differences) & Contrast- (which means a difference, especially a strong dissimilarity, between entities or objects compared.) When analyzing the two distinct 'Romeo and Juliet' films and comparing them, I noticed that both Zefferelli and Luhrmann had a different interpretation of Shakespeare’s version of ‘Romeo and Juliet’. For example, Franco Zefferelli produced his film in 1968, and Baz Luhrmann produced his in 1997.
Paul Longmire English 253 Instructor: Richard Yost Usually when a film is based upon a novel, there will be many differences between the novel and the actual movie—this happens to be the case with Charles Frazier’s novel Cold Mountain and Anthony Minghella’s movie Cold Mountain. Some of the differences between the novel and the movie are the way characters are portrayed in the novel compared to the movie, the way specific scenes in the novel are illustrated on screen, and how symbols are revealed in the movie compared to the novel. A major difference between the two is the way the novels ends compared to Minghella’s movie. A difference as significant as this can change a person’s view on how they should interpret each work. In the novel,
This paper will discuss the way to analyze a film. It will amalgamate how one may find and interpret movies and my personal view on how to evaluate a film. There are many elements to consider. One must look at the area of visual and style, cinematography, structure, and dialogue to name a few. I will look at the elements it takes to produce as well as analyze a movie.
The purpose of this essay was to inform the reader of how the movie didn’t exactly have the same detail like the book. It’s very rare for a movie to have this much similarities to the book because most book and movies doesn’t have a lot of similarities. That’s why most people didn’t pick either the book or the movie they picked both. Anyways, both the book and the movie are great. Once you get out the theater you will bewildered on what you saw.
The events may be arranged chronologically or nonchronologically and may be factual, fictional, or a blend of the two. (262) Together with narrative, form is another technique often used to narrate so as to attract audiences’ attention. Just as William H. Phillips says: Structure, which some scholars and theorists call form, refers to the parts of a text and their arrangement. In a fictional film, the selection and order of events help viewers comprehend the story and strongly influence how they respond…Fictional structure (characters, goals, and conflicts); some functions of beginnings, middles, endings; combination of different brief stories (plotlines) into a larger, more complex story. (264) Classical narrative form is commonly known as linear narrative which refers to stories told in a single line with logical order and ends with an assured conclusion, usually seen in traditional Hollywood films.
He characterizes things by ideas that life lacks stability or certainty as shown by the films story and distinctly visual disjointedness, its embrace of pop culture and its blurring of distinctions between high and low culture. The normalcy of film is challenged by having three different scenarios and by having mixed media throughout the film. Firstly, Tom Tykwer presents game theory through a postmodernist approach, which allows him to explore many facets of Lola’s game and the game of life. The game that Lola is involved in is to save Manni’s life. Tykwer places an emphasis on the restrictions of time within the game through the opening scene.
There are many differences between the way the play The Crucible was written, and the way it was presented in the film adaptation. Scenes towards the end are deleted as well as scene settings are changed, and characters are altered in the movie. Some scenes are only mentioned rather than shown. In the movie as we see everything unfold it becomes easier to understand, more so than the play. As the play was made into a movie it had to evolve.
Image 2 constructs representations of these stereotypes, that may contrast and complement the representations depicted in the film. The representations in the film, along with image 2 both challenge and/or
Formalist Films Formalist films at its most general, considers the mixture, or lack of mixture, of the many elements of film production, and the effects, emotional and intellectual, of that mixture and of the individual elements. For example, take the single element of editing. A formalist might study how standard Hollywood "continuity editing" creates a more comforting effect and non-continuity or jump cut editing might become more confusing or unpredictable. Or one might consider the mixture of several elements, such as editing, shot composition, and music. The shoot-out that ends Sergio Leone's Spaghetti Western The Good, the Bad, and the Ugly is a notable example of how these elements work together to produce an effect: the scene when Clint Eastwood, Eli Wallach, and Lee van Cleef are in the cemetery at the ending, the shot selection goes from very wide to very close and tense; the length of shots decreases as the sequence progresses towards its end; the music builds.
However, postmodernism is distinguishable from its predecessor in several key aspects (although there is still much debate about the criteria for how this distinction can be made). One aspect, for example, is the tone. Modernists regard the fragmentation of character deplorable and thus as something that should be solved; contrarily, postmodernists view such fragmentation as something that’s beyond solving and often employ a playful tone at depicting it. This will be further discussed later in the essay. Postmodernist perspective can be applied to a vast variety of cultural fields, as broad as to include literature, art, architecture, sociology, music, cinema, and much more.