Hamlet’s Defect: A reinterpretation of the word “defect” in Hamlet The word “defect” appears only twice in Hamlet’s Shakespeare yet this is a word which has profound consequences on the interpretation of key elements in the play depending on the definition attributed. It is very possible Shakespeare incorporated such words to help add a sense of ambiguity when needed, yet it is also possible our current or common understanding of words such as “defect” give a false meaning which Shakespeare had not intended. If one takes “defect” to mean something essential that is lacked, then the scene where Hamlet tells Horatio about the things which cause people to “in the general censure take corruption,” (1.4.35) and the scene where Polonius ponders “the cause of [Hamlet’s] defect,” (2.2.102) ostensibly lead an audience to relate the scenes to the larger issue of ambition throughout the play. The two definitions of the word “defect” which are important in this paper are best described in the Oxford English Dictionary. The first definition given is a meaning conceived very close to the time when Shakespeare wrote Hamlet—1589.
Rosencrantz and Guildenstern: Critical Evaluation of Opening Scenes Tom Stoppard’s film adaption of his play, Rosencrantz and Guildenstern Are Dead, has a distinct difference from its original performance script. From the opening scenes, modifications have been made to change the emphasis on certain ideas. Stoppard subtly changes the meaning of the narrative through emphasising particular aspects in characterisation and changes in the script. With a realistic setting and the point of view created by the camera, the changes are furthered simply by the medium of film. The opening scene of the adaptation differs from that of the play script in that Rosencrantz and Guildenstern are travelling through an ominous, mountain landscape, rather than being still in “a place without any visible character”.
In the reading Death in Venice, adapting Mann and Mahler written by Henry Bacon, the author discusses both sides of the opinions and interpretations of Visconti’s film. The success of the film was greatly built on the combined ‘superpower’ like reputations of Visconti, Mahler and Mann. These reputations created a set standard for the film. The visual nature of film, and the changes made to the plot created a collection of interpretative issues for the piece. Some critics even saw the film as a perversion of the novella and that the relationship between Aschenbach and Tadziu was ruined through the visual aspects film.
What is added to your understanding and appreciation of Apocalypse Now, Avatar and Homeland if you approach them as film reinterpretations of the themes and issues explored in Conrad’s Heart of Darkness? Apocalypse Now is, according to the filmmaker and to the wider public, a film adaptation of the novella Heart of Darkness Conrad, (1899). There is no clear evidence however, that Avatar or Homeland are influenced by the book. Bogue (1981) argues that Apocalypse Now is a “loose paraphrase” of the original work, suggesting that although major sections parallel the original, parts are ignored and the adaptor’s own remarks are added. He calls the film a “formal imitation”.
D. you'll write more lively sentences. 2. Which one of the following statements about making your writing fun to read is not correct? A. Direct quotations should be reserved for characters in stories.
First of all, how does conversation function in Much Ado about Nothing? Conversation is used to give direction to the plot of a story, movie or (in this case) the play. Conversation is an extremely helpful tool in the world of writing, from using it to add to the plot, or to confuse the watchers or readers. Imagine what books would be like without conversation. Think about it: a play without conversation would lack dialogue, and it would not be a play anymore.
This alternate ending seems to have an opposite resolution and message compared to the original ending. This essay will take the unusual approach of extending the plot of the alternate ending further, creating an additional scene based on a logical understanding of the characters and the overall direction of the rest of the play. This will be a creative element in what is otherwise an analytical essay. Using this creative device, this essay will argue that Ibsen’s alternate ending was not really an ending; that it would ultimately have led to the same inevitable outcome as the original - the separation of Nora and Helmer, the two main characters. Not only does the alternate ending fail to depict the message of liberal feminism that is shown through the original ending, the alternate ending is not consistent with the direction of the rest of the play.
Director Tom Twyker chose to set the introduction of the film out this way as it created similar effect on the audience in comparison to the first paragraph of the book; it made you think to yourself how? Why? This introductory adapted the audience’s attention as well as entranced and engrossed their minds. The beginning of the film showed the evil aspects, principles and attributions of Grenouilles character; the notorious beginning assisted the audience with forming a profile of who and
In “Dead Poets Society”, directed by Peter Weir, the obvious feature which most deserves further thought and learning is the theme of conformity. The theme is present in the film as both a negative and a positive idea. It is generally portrayed as being a negative influence but there are a few scenes where the lines between unity and conformity become blurred. The theme is emphasized and given importance through the costuming choices, dialogue and the shots and angles. In this movie, the choice of costume is a powerful device used to communicate the idea conformity.
(For chosen film shot, see appendix). The paper will conclude with a final comment on how mise-en-scene has been used in my example and the effectiveness of it as a means of reflecting the film's overall themes. Due to the important nature of mise-en-scene as a tool for the study of film, it is somewhat of a surprise that there is a comparative shortage of it within modern film criticisms. Gibbs states his belief that it is seemingly the broad definition of its meaning that lead writers to "underestimate the importance of misè-en-scene" (2002:1). The rough translation of the term mise-en-scene from its French origins is "put in to the scene".