Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.

From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."

Tags:dialogue, iconography, fantasy, gender, marketability

Abstract
This is a film review of Michael Hoffman's 1999 portrayal of William Shakespeare's play, "A Midsummer Night's Dream". This essay isolates the weaknesses in Hoffman's art, arguing that Hoffman takes so many liberties in filming his adaptation, that the final product is void of anything Shakespearean, save the original language. The paper also highlights several moments of cinematic genius and mentions the excellent acting by Kevin Kline.

From the Paper
"Kevin Kline's Nick Bottom is the film's sole redeeming character. Klines shines as Bottom, combining joy and apprehension throughout his oscillating plots. Delivering one of his better performances, Kline plays Nick Bottom as a tragic-comic champion-a despondent drudge with big stage aspirations. The play-within-a play subplot works well with Hoffman's rough mechanicals. When Bottom is transformed into an ass, the object of Queen Titania's affection, it is poignant to note how his moment of grandeur renders him completely oblivious to his physical state. Bottom alone gives flight to the central idea that love is both maddening and redeeming, and the comedy seems to soar whenever Kline appears."

Tags:bottom, demetrius, helena, oberon, puck, titania

Abstract
The paper discusses how both the film and the original version of William Shakespeare's romantic comedy "A Midsummer's Night Dream" use the same words to tell a tale of temporarily thwarted young love. Yet, there are many differences the paper illustrates. The paper explains that because the film uses visual images to illustrate the words of the Shakespearean play and makes use of selective cutting to emphasize certain scenes over others, the film offers a more selective view of dreams and dreaming as opposed to the play that is viewed in its complete and uncut form.

From the Paper
"The nature of cinema allows the director of "A Midsummer's Night Dream" to make the fairies, such as Titania, Oberon, and Puck seem much more fantastical in contrast to the earth-bound mortals. The fairies float; strange, beautiful lights surround them. Yet in this rendition, they lose some of the earthier, humorous, and more interesting mortal qualities in contrast to the warring fairy characters in the play."

Tags:cinema, fairies, mortals, romanticism

Abstract
This paper analyzes the play written by William Shakespeare, "A Midsummer Night's Dream." The purpose of this paper is to compare and contrast the play as written out in the book and how it has been enacted in the movie and the play.

Abstract
This paper reviews the adapted film versions of two of William Shakespeare's plays, "Much Ado About Nothing" and "A Midsummer Night's Dream". The paper explains that both the directors, Branagh and Hoffman, suitably altered the original setting of Shakespeare's plays. Though the scenery and settings are beautiful and picturesque, there are deeper and more purposeful reasons for this change, only one of which is merely to decorate. This can be seen in "Much Ado About Nothing" and more evidently in "A Midsummer Night's Dream". The paper explores the changes made to the modern versions of the plays, claiming that, for the 1990s audience, they offer a more accessible and comprehensible viewing.

From the Paper
"Love, romance and sensuality combine and are fore grounded in the lush and verdant settings of Tuscany in the recent adaptations to Shakespeare's plays Much Ado About Nothing and A Midsummer Night's Dream directed respectively by Kenneth Branagh (1993) and Michael Hoffman (1999). The two directors have purposefully abandoned the original settings of Sicily and Athens to create their versions of the film. They have intentionally used the Tuscan setting for various purposes, such as to enhance the viewer's association and understanding of the film, to portray an atmosphere of gaiety and romance, to subtly reflect issues of the time, to allow them to include certain cinematic elements (such as music of the era) and also to merely decorate."

Tags:sicily, athens, tuscan

Abstract
The paper discusses the sinister undercurrents in William Shakespeare's comedy, "A Midsummer Night's Dream".

From the Paper
"Although Shakespeare's "A Midsummer Night's Dream" is regarded by critics as a comedy, at times there are more sinister undercurrents in the play that suggest it has a darker side. This essay will examine specific elements of the play to argue that Shakespeare balanced his comedic intent with a desire to explicate the aspects of human nature that are less than perfect and benevolent. Several characters i.e. Theseus, Egeus, Demetrius and Titania are each capable of using their..."

Tags:Shakespeare, A Midsummer Night's Dream

Abstract
In this article, the writer studies Act III Scene 1 of "A Midsummer Night's Dream" by William Shakespeare. The writer focuses on Sir Philip Sydney's defense of poetry in the play.

From the Paper
"This paper discusses Act III Scene 1 in the light of Sir Philip Sydney's contention in his "A Defence of Poetry" that "Poesie therefore, is an Art of Imitation: for so Aristotle termeth it in the word mimesis (24), that is to say, a representing, counterfeiting, or figuring forth to speak Metaphorically. A speaking Picture, with this end to teach and delight." Act III begins when the craftmen bumble in to set up their attempt at drama. Puck asks ironically, "What hempen ..."

Tags:midsummer, night's, dream

Abstract
This paper discusses Shakespeare's play; "A Midsummer Night's Dream" and analyzes how it satisfies the functions of literature, raising a heightened sensitivity of the complexities of life. The paper also discusses plot devices.

From the Paper
"A Midsummer Night's Dream: One of the functions of literature is to force the reader to question the things he has taken for granted; another is to heighten his sensitivity to the complexities of life and individuals. Shakespeare's "A Midsummer Night's Dream" fulfills both functions masterfully. Shakespeare's play creates an intricate juxtaposition of plot and characters that reduces even the careful reader to a state of confusion."

Tags:A Midsummer Night's Dream, Shakespeare, literature

Abstract
This paper compares and contrasts two William Shakespeare plays: "Antony and Cleopatra" and "Romeo and Juliet." It provides biographical details of Shakespeare's life. It also looks at the common themes of political and romantic issues in the two plays, the lyrical poetry of both plays and the different appeal of both plays.

Tags:William Shakespeare, plays, Antony and Cleopatra, Romeo and Juliet

Abstract
This paper analyzes one of William Shakespeare's most celebrated comedic plays, "A Midsummer Night's Dream." The author examines how the throughout the play the characters attempt to find a way to understand the mechanism of love in a rational way and experience self-alterations that they believe to be a dream in the end. The paper also looks at how the recurring reference to the ever-changing moon parallels the transformation of the characters in "A Midsummer Night's Dream".

From the Paper:

"A Midsummer Night's Dream" brilliantly expresses the profound human uncertainty about love. Dream world and reality merge undetectably so that the characters are not sure themselves in which sphere they move, nor whether what they have experienced has been imagination or truth. What seems to be a fantasy or a dream for the characters in "A Midsummer Night's Dream" is actually reality. However, the dreamlike atmosphere of the play accentuates the fact that the lovers appear to be quite removed from any criteria applicable to reality."

Tags:Shakespeare, theseus, hippolyta, bottom, titania, moon, puck, helena, oberon