...Adapting Plays Into Movies “In theatre, you can change things ever so slightly; it’s an organic thing. Whereas in film, you only have that chance on the day, and you have no control over it at all,” These insightful words were once spoken by actress (Casino Royale, Quantum of Solace) and Oscar winner Judi Dench, and they very clearly illustrate one of the biggest differences between theatre and film. However, a small hint of bias seems to be depicted in this point of view. The quote (and many others) seem to suggest that one form of acting is more difficult than the other. It seems the opposite is true; that when taking one of these art forms (i.e. theatre) and transforming it into the other, one would come across a wide array of differences, as well as similarities. When researching a topic such as this, one must go beyond reading. One must not only dive into a script or a periodical or academic journal, one must immerse themselves into the films that have come about as a result of the transformation of turning a play into a cinematic experience. When going about researching this topic, I watched the movie Chicago (Dir. Rob Marshall, 2002) as well as looked over the original Broadway script (By Jon Kander, Fredd Ebb, and Bob Fosse 1975). The original Broadway production opened June 3, 1975, at the 46th Street Theatre and ran for 936 performances. Chicago's 1996 Broadway revival holds the record for the longest-running musical revival and the longest-running American musical...
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...Luhrmann’s Modern Day Shakespeare The 1996 film adaptation of William Shakespeare’s Romeo and Juliet provides viewers with the same theatrical influence as the original play. Baz Luhrmann was able to accomplish this through modern filmmaking techniques and visual imagery. Luhrmann’s adaptation maintains much of the same elements of the original play. However, Luhrmann was able to make it more appealing to modern audiences by integrating modern elements into the film, thus turning Shakespeare’s original love story into a more modern yet controversial, interpretation of the original love story. In today’s society Shakespeare’s poetic language would leave viewers perplex. Luhrmann is able to keep Shakespeare’s original language by incorporating creative cinematography, editing, and style. Luhrmann recognizes early on that it is imperative to modernize the prologue in order for viewers to fully comprehend the film’s plot; any misperception would leave viewers confused and not emotionally involved. He is able to accomplish this through the use of dialogue, written text, and visual images. In order to reach modern audiences, Luhrmann has to be inventive in his filmmaking techniques; therefore he integrates modern-day media language. By adding news media and displaying selected pieces of text onscreen he is able to intensify the romantic teen tragedy, thus turning Shakespeare’s original play into a distinguishable film for modern audiences. Luhrmann’s use of visual imagery...
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... William Shakespeare’s “The Tragedy of Romeo and Juliet” is an exciting play that many have gone to watch before. In fact, it has become so famous that when the technology of capturing moving pictures became commercial, the play has been incorporated into many films throughout the century. Films such as Franco Zeffirelli's “Romeo and Juliet” follow the traditional route of attempting to create a carbon copy of the play, but instead is in film. Many films of the play attempt to stick extremely close to the text written by Shakespeare, through both dialogue and setting. There is one movie, however, that is different from all the other movies, is Baz Luhrmann’s “Romeo + Juliet,” set in a modern 1990s city named Verona. The atmosphere Baz Luhrmann creates in his movie is tension that keeps the audience on their seats. Besides that, the characters are emphasized heavily, where both word play and character design create clear lines between each character and provides the audience understanding of the character's action. Moreover, Luhrmann uses both the dialect in the original text as well as much of the original plot, creating ties back to the play and leaving the viewers with a clear timeline of the story. The “Tragedy of Romeo and Juliet” has been retold many times before, but there is no interpretation that has captured the essence of Shakespeare’s play as Baz Luhrmann’s movie “Romeo + Juliet.” Coupled with the 1990s vibe and the unusual, Elizabethan dialect from the 1600s, Luhrmann’s...
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...At a glance, Baz Luhrmann's 1996 film version of “Romeo + Juliet” may seem completely different at a glance when compared to Franco Zeffirelli's interpretation, the two can actually be surprisingly similar if you look at it carefully.Both film versions generally have the same dialogue, both films allude the idea that both families are wealthy and have the same plot, and the characters are somewhat similar, but the difference between the 2 films are that Baz Luhrmann’s version is directed towards a young, teenage audience whose possible intent of this version of the movie is that Baz Luhrmann tries to get the kids interested in Romeo and Juliet, meanwhile Zeffirelli’s version is directed towards an audience who are more likely to be Shakespeare enthusiasts. In both movies, the dialogue is generally similar, as they are both true to the Shakespearian old english way of speaking, even though Baz Luhrmann’s version is modernized, and out of context, might not make sense to some viewers that they are speaking in old english, when it takes place in modern times. However, in Baz Luhrmann’s version, in some parts of the movie, they ever-so slightly modify the original lines from the play in order to slightly simplify it for the intended audience. Both movies show the same plot in different ways. Both movies have the feud between 2 wealthy families, in both versions, they both start with the fight between the Capulets and the Montagues, then we meet a Romeo in despair due to...
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...Romeo and Juliet: The Movie I believe that this play/movie is based off of a conflict theory. The reason I say this is because both families here are trying to gain power and also trying to be the dominant family. As I go into detail on this movie it will explain the conflict theory. William Shakespeare's Romeo and Juliet is fully summarized in Shakespeare's prologue: "Two households, both alike in dignity, in fair Verona where we lay our scene. From ancient grudge break to new mutiny where civil blood make civil hands unclean. From forth the fatal loins of these two foes, a pair of star crossed lovers who take their life" (Universal, 1996). This movie is a masterful culmination of the director's phenomenal ability to create a powerful introduction, to select a realistic, but surreal setting, to choose realistic actors, and to enact specialized dramatic effects. Sitting in the theater, watching this movie for the first time, I heard static break in to interrupt the beginning credits. A newscaster, sounding serious, came on the screen in a special report. I sat up to pay attention. She was reporting a tragedy that had recently happened in some place called Verona. I was pulled in thinking it to be a true special report. Ah-hah!! It was a trick. A trick to get people to do just what I did. Trained are we to listen to newscasts, our life-line in present day society, where we receive a lot of our information. A trick, and...
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...At a glance, Baz Luhrmann's 1996 film version of “Romeo + Juliet” may seem completely different at a glance when compared to Franco Zeffirelli's interpretation, the two can actually be surprisingly similar if you look at it carefully.Both film versions generally have the same dialogue, both films allude the idea that both families are wealthy and have the same plot, and the characters are somewhat similar, but the difference between the 2 films are that Baz Luhrmann’s version is directed towards a young, teenage audience whose possible intent of this version of the movie is that Baz Luhrmann tries to get the kids interested in Romeo and Juliet, meanwhile Zeffirelli’s version is directed towards an audience who are more likely to be Shakespeare enthusiasts. In both movies, the dialogue is generally similar, as they are both true to the Shakespearian old english way of speaking, even though Baz Luhrmann’s version is modernized, and out of context, might not make sense to some viewers that they are speaking in old english, when it takes place in modern times. However, in Baz Luhrmann’s version, in some parts of the movie, they ever-so slightly modify the original lines from the play in order to slightly simplify it for the intended audience. Both movies show the same plot in different ways. Both movies have the feud between 2 wealthy families, in both versions, they both start with the fight between the Capulets and the Montagues, then we meet a Romeo in despair due to...
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...1997 movie the angles the camera shot the scene from, was a high angle and more up close to capture the audience's attention and to draw in more suspense. Juliet is wearing a full white dress that looks more like a wedding dress to make the scene look more innocent and Romeo is wearing an opened button T-shirt with black pants rather than the other movie Juliet wears two dresses in her first “death” she wears a brown gold and a hint of green dress that’s tight from the upper body and goes loose from the waist down and Romeo is wearing a white shirt with a black short sweater. While both die in the end Romeo and Juliet are both wearing their wedding clothes in the last and final scene. In the background, Leonardo Dicaprio and Claire Danes played the roles of Romeo and Juliet in 1997 which made it more tragic because Romeo was played in for a “pretty boy” and had more of a dramatic effect. While the romantic chemistry with Juliet both actors really didn’t have an accent towards the scene but understood the language it was putting off. In the first movie, they starred Olivia Hussey and Leonard whiting two very good actors who understood and spoke Shakespeare's language. Their body characters toward each other made it feel like they were actually together and both really loved each other. Both scenes were affected by the tension of how they died and what it caused. Furthermore, I believe in the 1997 version the audience felt more sorrow and sad because not long...
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...LICENCE LANGUES, LITTÉRATURES ET CULTURES ÉTRANGÈRES ET RÉGIONALES SPÉCIALITÉ ANGLAIS DESCRIPTIF DES ENSEIGNEMENTS Année universitaire 2014-2015 Page 1 SOMMAIRE L1—PREMIERE ANNÉE SEMESTRE 1 CULTURE DES PAYS ANGLOPHONES 1 E11 AN5 (6 ECTS) LANGUE 1 E12 AN5 (4 ECTS) CIVILISATION 1 E13 AN5 (4 ECTS) VERSION 1 ET LITTÉRATURE AMÉRICAINE 1 E14 AN5 (4 ECTS) PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E1P AN5 (1 ECTS) 5 5 6 8 10 13 SEMESTRE 2 CULTURE DES PAYS ANGLOPHONES 2 E21 AN5 (5 ECTS) LANGUE 2 E22 AN5 (4 ECTS) LITTÉRATURE BRITANNIQUE 2 E 23 AN5 (4 ECTS) CIVILISATION BRITANNIQUE 2 ET TRADUCTION (VERSION) 2 E24 AN5 (5 ECTS) PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E2P AN5 (1 ECTS) 14 15 17 18 20 2 L2—DEUXIEME ANNÉE SEMESTRE 3 LANGUE 3 E31 AN5 (6 ECTS) CIVILISATION AMÉRICAINE 3 E32 AN5 (5 ETCS) LITTÉRATURE BRITANNIQUE 3 E33 AN5 (5 ECTS) TRADUCTION (VERSION) 3 ET PRISE DE PAROLE EN CONTINU 3 E34 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 3 21 21 23 24 26 29 E3PF12L5 (6 ECTS) SEMESTRE 4 LANGUE 4 E41 AN5 (5 ECTS) CIVILISATION BRITANNIQUE 4 E42 AN5 (6 ECTS) LITTÉRATURE AMÉRICAINE 4 E43 AN5 (5 ECTS) TRADUCTION (VERSION) 4 ET PRISE DE PAROLE EN CONTINU 4 E44 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 4 30 32 34 36 39 E4PF12L5 (6 ECTS) 3 L3—TROISIEME...
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...Media History Contents 1 Introduction 1.1 Mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.1 1.1.2 1.1.3 1.1.4 1.1.5 1.1.6 1.1.7 1.1.8 1.1.9 Issues with definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Forms of mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Professions involving mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Influence and sociology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ethical issues and criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 1 2 6 6 7 8 10 10 10 10 11 11 12 12 12 12 16 16 17 17 17 17 17 17 18 19 20 21 21 21 1.1.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.11 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.12 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.13 External links . . . . . . . . ....
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...A BRIEF CONTENTS PART 1 • GETTING STARTED 1. Becoming a Public Speaker 2. From A to Z: Overview of a Speech 3. Managing Speech Anxiety 4. Ethical Public Speaking 5. Listeners and Speakers 1 2 8 1 4 23 30 PART 2 • DEVELOPMENT 6. Analyzing the Audience 7. Selecting a Topic and Purpose 8. Developing Supporting Material 9. Locating Supporting Material 10. Doing Effective Internet Research 1 Citing Sources in Your Speech 1. 36 37 49 57 64 73 83 PART 3 • ORGANIZATION 1 Organizing the Speech 2. 1 Selecting an Organizational Pattern 3. 1 Outlining the Speech 4. 92 93 103 1 10 PART 4 • STARTING, FINISHING, AND STYLING 15. Developing the Introduction and Conclusion 16. Using Language 1 22 1 23 1 31 PART 5 • DELIVERY 1 Choosing a Method of Delivery 7. 18. Controlling the Voice 19. Using the Body 1 39 1 40 1 44 1 48 PART 6 • PRESENTATION AIDS 20. Types of Presentation Aids 21. Designing Presentation Aids 22. A Brief Guide to Microsoft PowerPoint 154 155 161 164 PART 7 • TYPES OF SPEECHES 23. Informative Speaking 24. Persuasive Speaking 25. Speaking on Special Occasions 1 74 1 75 188 21 7 PART 8 • THE CLASSROOM AND BEYOND 230 26. Typical Classroom Presentation Formats 27. Science and Mathematics Courses 28. Technical Courses 29. Social Science Courses 30. Arts and Humanities Courses 31. Education Courses 32. Nursing and Allied Health Courses 33. Business Courses and Business Presentations 34. Presenting in Teams 35. Communicating in Groups 231 236 240 243 246 248 25 1 253 258...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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