Comparing the play with the movie, there are several differences in the way the characters are chosen, how they act and how the surrounding is set out. To start off, the main obvious difference between the book and the play is the different gender of the main character. As I´ve said, the main character in the play is Prospero while in the movie it’s a woman named Prospera. The decision to cast a woman in the part changes many of the dynamics between Prospero and others, like the father-daughter relationship vs. a mother-daughter relationship. Shakespeare used a male role as the main character in the play, as generally it is believed that as a man Prospero can show more strength, confidence and valor, while a woman was and is considered shier, weaker and more emotional.
Option A: Analyse the narrative and ideological roles of music and sound in a 2,000 word close reading of the following scene. Breakfast at Tiffany’s, different versions of ‘Moon River’. How are Holly’s real and imagined identities constructed by the different versions of ‘Moon River’ heard in the film? Breakfast at Tiffany’s (1961) directed by Blake Edwards and based on the novel by Truman Capote, follows the life of ‘New York socialite’[1], Holly Golightly (Audrey Hepburn), and her developing relationship with struggling writer Paul Varjak (George Peppard). The focus of this analysis is the means by which the pop scoring of Breakfast at Tiffany’s assists in the portrayal of Holly as having two distinct identities during the film.
Classical and Post-Classical Hollywood Cinema INTRODUCTION During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Biography of the Author The title of the article that we critiqued is, The Violence in Our Heads. We took it online from The New York Times website. The article was written by Tanya Marie Lurhmann, the American psychological anthropologist and best known for her studies of modern-day witches, charismatic Christians and psychiatrists. She studied Social Anthropology at Cambridge University in 1986 and received her PhD for work on modern-day witches in England. In 1989 she published her first book, Persuasions of the Witch’s Craft.
“A Not So Happy Holiday” Alysha McElroy-Hodges “Hello? Yeah, I’m at the library trying to get this copy of How the Grinch Stole Christmas by Dr. Seuss for Krystal. Mhm. Yeah, bye.” “Mr. Maynard,” the elder librarian squeaked, “Your movie is right over here, would you like me to ring this up for you?” “Yes, Ma’am.” “Well, honey, I’m almost ready, give me just a few minutes.” She hobbled over to the young lady with the long brown hair and helped her configure some numbers for the new system.
Juan J Rodriguez November 2011 Ingl 3151 Dr. Lillian Sanchez A Doll’s House Act I 2 Examine the opening dialogue between Helmer and Nora. Describe the ways Nora and Torvald behave toward each other. What kind of relationship does Ibsen set up between them? What issues are set up? How does Ibsen set the scene for the rest of the play?
This article seeks to specifically investigate the influence of Lacanian psychoanalysis on film theory. Its development will be traced in two articles through classic film theory, the role of Karl Marx and Louis Althusser, the contributions of semiotics, the debates surrounding apparatus theory and the gaze, and finally the input of feminism. While this type of broad overview has been attempted in many general introductions to film theory, it is hoped here to provide a rough sketch of its formative stages of development, while filling in the detail on a number of significant issues that highlight Lacan’s influence. Classic Film Theory It was not until after the First World War that it became possible to identify two particular groups within film criticism. Spearheading the first of these groups was the figure of Sergei Eisenstein, whose film-making and theoretical essays in the 1920’s established a conception of the role of the cinema as a primarily aesthetic one.
Douglas Gomery's article entitled “The Rise of National Theatre Chains” is researched and presented to its readers in a much different fashion than the article “Dish Night at the Movies: Exhibitor Promotions and Female Audiences during the Great Depression”, written by Kathryn Fuller-Seeley. The techniques employed by these historians (as well as the evidence provided in the texts and frequency of citations and reference points throughout) serve to mark these articles on their readability as either factual and statistic, or as anecdotal. Douglas Gomery's article on national theatre chains centers on Balaban and Katz. In the afterword by the author, he explains that the article is an excerpt from his novel, “within the Business History section […] and is not intended to cover the technical, social or cultural implications of what Balaban and Katz wrought” (Gomery 119). In reviewing both historians' approaches, Gomery's appears to be based primarily on (as it reads) observation, rather than historical findings based on fact; he does not rely heavily on systematic evaluations or facts and figures.
In town square we went to the bakery, the tailor and the book store. The book store was my favourite because I finally found the book I have been searching for. After that we went back to my castle and had afternoon tea with my mother. It was lots of fun but then Bella had to go
I am going to look at if a film portrayal can be a truthful representation of a historical period in time using Pride And Prejudice as an example. When looking at the text in comparison to the 1995 mini series by the BBC it is apparent that the 2005 film has taken a very different approach and represents the lifestyles and environments extremely differently. I am going to attempt to prove or disprove that a film can or cannot give an accurate historical representation of the period and form some sort of conclusion from it. I firstly began by looking closely at the opening scenes of each of the films and the differences in the representations. Reviewing the opening sequence of Pride And Prejudice (BBC 1995) we begin with a ‘misted’ camera shot panning over elegant embroidery and refined materials to a classic piano soundtrack, connoting elegance and class as the camera slowly pans through an array of pinks and creams, the materials are lavish and very expensive looking, again connoting class and elegance and establishing ideals for the opening scene.