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Parents and Teens in Shakespeare and Film, 2006.
Compares Shakespeare's "The Taming of the Shrew" with the film "Ten Things I Hate About You".
1,069 words (approx. 4.3 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper compares and analyzes Shakespeare's famous comedy about the wooing of a shrewish, eldest daughter, "The Taming of the Shrew", with the film, "Ten Things I Hate About You", about teenage romance and adult wisdom. The paper explains that while their plots are similar, the messages delivered about love, romance and personal development are very different.
From the Paper
"The initial irony present in Shakespeare can be seen through the use of the framing device scorned by "Ten Things I Hate about You." Although the playgoer Christopher Sly of "The Taming of the Shrew" does not reappear at the end of the comedy, the fact that the viewer is always watching a play of a play makes it clear to the audience that the occasional Punch-and-Judy show type violence is, 'in quotes' or ironic, rather than a simple validation of violence against women. "Am I a lord? And have I such a lady? Or do I dream? or have I dream'd till now?" asks Sly, emphasizing the dreamed nature of "The Taming of the Shrew." (1.2) Up to the end, the play has a fantastical quality, rather than a play of real-life morality and consequence, until Katherine's final monologue."
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Shakespeare in Film, 2002.
A comparative analysis of different film adaptations of William Shakespeare's plays including editing, design, costumes and camera work.
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
This paper compares styles of acting, editing, design, costumes, and camera work in Laurence Olivier's Hamlet, Orson Welles' Chimes at Midnight, and Akira Kurosawa's Throne of Blood. The author considers how the performances differ, what the overall style of each of the directors is, and how they illuminated the tricky challenges of transferring language intended for the stage. The author also discusses how these elements contributed to the success of the films.
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Shakespearean Studies: Understanding the Theme of Disguise in Romeo and Juliet and the Film Shakespeare in Love, 2005.
An analysis of the theme of disguise in "Romeo and Juliet" by William Shakespeare and the film "Shakespeare in Love", directed by John Madden.
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
This paper looks at how the play "Romeo and Juliet" by William Shakespeare and the film "Shakespeare in Love", directed by John Madden, utilize disguise as the key to romance and intrigue. It looks at how "Shakespeare in Love" displays the theme of disguise as an equal response to the trickery and guise found in "Romeo and Juliet" and how in "Romeo and Juliet" the theme of disguise through the masquerade ball is important in Romeo realizing his love for Juliet.
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Film: "William Shakespeare's A Midsummer Night's Dream", 2007.
This paper compares Michael Hoffman's 1999 film, "William Shakespeare's A Midsummer Night's Dream" with Shakespeare's original play.
2,350 words (approx. 9.4 pages), 9 sources, MLA, $ 72.95
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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."
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Film adaptation of Shakespeare's plays, 2002.
A look at how several of Shakespeare's plays have become movies.
1,400 words (approx. 5.6 pages), 6 sources, $ 53.95
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Abstract
This six-page graduate paper is on "Film adaptation of Shakespeare's plays". It includes the film adaptation of his plays i.e. comparing two or more versions of a single play (for e.g. Hamlet, Romeo & Juliet, Macbeth). It also includes what are the implications of the plays as each relate to popular culture and giving an incorporating film criticism.
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Filming of Shakespeare's Plays, 1993.
A look at the techniques, direction, viewer's role, camera use and the characterizations in the British Broadcasting Corporation's video production of "Julius Caesar" and "The Merchant of Venice".
2,025 words (approx. 8.1 pages), 4 sources, $ 71.95
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From the Paper
It has been pointed out by some that many of Shakespeare's plays have a certain cinematic sweep to them, moving from one scene to another in a rather cinematic way that is effective on the stage and that can be effective in a filmed version as well. The BBC productions of the Shakespeare Plays, including Julius Caesar and The Merchant of Venice, are caught in the middle of the issue, for they are not stage productions and they are not really films, either. Instead, they are a hybrid form, making use of certain stage traditions along with cinematic and television traditions to create a specific experience of the text. The directors of the two productions make similar choices in terms of settings and how transitions are handled, perhaps because of the requirements and limitations of the productions themselves rather then out of a specific choice on their part.
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Shakespeare's "King Lear" in Film, 1995.
This paper examines two film versions of Shakespeare's "King Lear", the 1987 version directed by Jean-Luc Godard and the 1984 television version starring Laurence Olivier: Style, critical reception, characters, narrative and adherence to Shakespeare.
2,475 words (approx. 9.9 pages), 12 sources, $ 87.95
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From the Paper
"The purpose of this research is to examine two film versions of Shakespeare's King Lear. The plan of the research will be to set forth the context for and fundamental premises of the two works, and then to discuss the style, tone, language, and treatment of the protagonist in each.
The television production of King Lear adapted by and starring Laurence Olivier is accurately described as straightforward in its style of treatment of the text. The production as a whole is set in pre-Christian Britain, which is consistent with the fact that, according to Rowse, the Lear story was familiar to Elizabethans from Holinshed's account of ancient British history and legend. The use of Stonehengelike pillars and rustic wood as structural elements, together with wilderness exterior settings, is consistent not only with ... "
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Film: ?Much Ado about Nothing?, 2005.
This paper analyzes the problems of transforming Shakespeare to film, especially character portrayal, as demonstrated in Kenneth Branagh's 1993 film adaptation of William Shakespeare's "Much Ado about Nothing".
2,490 words (approx. 10.0 pages), 6 sources, MLA, $ 75.95
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Abstract
This paper explains that Kenneth Branagh's adaptation of Willam Shakespeare's "Much Ado about Nothing" is an enchanting world filled with believable drama and mostly solid acting; moreover, Branagh was extremely successful in allowing contemporary audiences an aperture by which to understand Shakespeare by weaving the original text into the film in such a way that it becomes both intelligible and unobtrusive. The author points out that the sacrifices in Branagh's adaptation is the play's subtle theme of appearance versus reality; wherein, whether through his addition of new material for the screen or his partial omissions of Shakespeare's text, Branagh has eliminated all of the mystery and ambiguity that Shakespeare crafted into his characters. The paper analyzes the portrayal of the characters Benedick, Beatrice, Claudio and Branagh.
From the Paper
"Branagh's Don Pedro, however, lacks this ambiguity. Another creative liberty with Shakespeare's text is the addition of Denzel Washington's ever-stylish and ever-fearless persona to Don Pedro. As the veteran American actor is cast for the role, he seems slightly out of place. His attitude is always cautious and carefree; the actor easily brings his effortless delivery and commanding persona to the role. This is not always a good thing, however: when Don Pedro offers his hand in marriage to Beatrice, Washington says his lines coolly and nonchalantly, and the delivery offers no possibility that Don Pedro might seek Beatrice for himself. Branagh also diffuses the mystery behind Pedro's wooing of Hero through his directorial choices. When Don Pedro and Claudio walk through the garden, they address each other as equals, wear the same clothing, and talk openly."
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The Filming of ?Othello?, 2002.
Describes how the final death scene in William Shakespeare's "Othello" would be made into a film scene.
1,792 words (approx. 7.2 pages), 3 sources, MLA, $ 57.95
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Abstract
The final scene of Shakespeare's "Othello" presents many difficulties for filming--even beyond presenting the resolution of the tragedy. It is set in a single room and features the ugly intimacy of the murder and then expands to include all the people who come tumbling into the room in its aftermath. The paper shows that the light must be low at the beginning and sufficiently bright at the end in order to distinguish various parts of the room at the same time. Nor does the scene present many opportunities for trimming the script. Most of what is said is exactly to the point and in Othello's speeches it contains some of the play's most famous poetry. The paper shows that in addition to the logistics, of course, it is the scene in which Othello must change once again and Iago must seal his lips so that people would still be speculating about his motives 400 years later.
From the Paper
"Thus when he enters the bedchamber he is on the edge--delicately balancing his own threatened self-image against the new image of the unfaithful Desdemona. The very idea that Desdemona might not conform to his ideal of her tended to undermine his idealized self-conception and the question of killing her becomes a matter of delivering justice. He must kill her "else she'll betray more men" (5.2.6). In this way he attempts to retain his idea of himself and is, once again, performing a civic duty when he kills. The act needs to be filmed so that Othello more or less finds himself apart from the others--to his surprise. Yet even though he berates himself for his stupidity and regrets his crime he has begun to restore Desdemona to her old idealized role."
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Shakespeare from a Modern Viewpoint, 2003.
This paper argues that, in modern times, the works of William Shakespeare must be reinterpreted through modern media such as the films.
3,575 words (approx. 14.3 pages), 23 sources, MLA, $ 99.95
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Abstract
This paper explains that the energy of Shakespeare?s words can only be realized in modern terms -- in our language, in our time and with our ideals. This paper uses many examples from the movies: John Madden's ?Shakespeare in Love?, Al Pacino?s ?Looking for Richard?, Stuart Canterbury?s ?A Midsummer Night?s Cream?, Spike Lee?s ?Bamboozled?, and Baz Luhrmann?s ?William Shakespeare?s Romeo + Juliet?. The author concludes that actors have the power to bring the dead back to life and especially to determine how future generations will view Shakespeare.
From the Paper
"Al Pacino?s "Looking for Richard "is a patchwork of movie, educational film, Bardolatry, and documentary into adapting, directing and acting Shakespeare, specifically "Richard III". Pacino along with actor/director Frederick Kimble and an all-star cast takes us on a journey or a ?quest? as Kimble puts it, to fulfill a personal dream of Pacino?s to ?communicate a Shakespeare that is about how we feel and think today?. Immediately Pacino has conveyed that he is bringing the Bard to our society and so is not just presenting an adaptation of Richard III but a ?meditation on what Shakespeare means at the end of the twentieth century?."
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Keeping Shakespeare Moving, 2001.
This paper discusses the differences between William Shakespeare's works on screen or in print.
1,600 words (approx. 6.4 pages), 3 sources, $ 52.95
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Abstract
The following paper attempts to show that people enjoy Shakespeare for a variety of reasons. It shows how some people are used to enjoying the amount of Shakespeare a filmmaker can fit into a two hour film, while others enjoy reading it in full. In this essay the writer attempts to show that, whether on film or in print, anyone who enjoys Shakespeare knows that imagination is key to enjoying it.
From the paper:
"But there are differences between the choices of experiencing Shakespeare. With a book, you can pause and come back to it later; you can digest it at your own pace. You can also reread certain passages and study the text more intensely than you can actors in a film. A lot of Shakespeare's speeches state the same thing several ways, so that the audience at a live performance can catch what's going on. When reading that speech, you can enjoy the entire thing without worrying about keeping up".
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William Shakespeare, 2003.
Examines the influence of William Shakespeare on drama and theatre.
9,454 words (approx. 37.8 pages), 28 sources, APA, $ 194.95
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Abstract
This paper discusses the influence of William Shakespeare on twenty first century theatre. Shakespeare was a great English playwright, dramatist and poet who he lived during the late sixteenth and early seventeenth centuries. He is considered to be the greatest playwright of all time. The paper shows that no other writer's plays have been produced so many times or read so widely in so many countries as his. Shakespeare had a tremendous influence on culture and literature throughout the world and he contributed greatly to the development of the English language. The paper examines how many words and phrases from Shakespeare's plays and poems have become part of our speech. It shows that Shakespeare's ideas on subjects such as romantic love, heroism, comedy and tragedy have helped shape the attitudes of millions of people. His portrayals of historical figures and events have influenced our thinking more than what has been written in history books. The world has admired and respected many great writers, but only Shakespeare has generated such enormous continuing interest. The paper discusses his different works for theatre. Costumes trends, audiences and sets are also discussed. It also discusses the formation of Globe theatre by Shakespeare.
Outline:
Abstract
Background
Life of Shakespeare
Shakespeare Career
Shakespeare's Influences on Theatre
Costumes and Sets
Audience and Plays
Globe Theatre
Structure of the Globe
Shakespeare and the End of the Globe
Development of Theatre
Conclusion
From the Paper
"Everything had to be conveyed to the audience through words and there is little doubt that the audience had better memories and perhaps higher powers of attention than people do today, so that they took in and retained the information given to them. The majority people in Shakespeare's day could not read or write so they had to rely on word of mouth and on memory; this is in evidence in Romeo and Juliet when the Servant is sent to bid Capulet's guests to dinner. He can't read the list which he has been given and he asks Romeo to read it to him; he hears it read once and then goes off to find the guests; yet, there are well over thirteen people on the list so his memory must have been extremely retentive."
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Shakespeare and the Romantic Poets, 2006.
This paper discusses the reception of William Shakespeare by the Romantic poets as referenced in several text of both Shakespeare and these poets.
2,930 words (approx. 11.7 pages), 14 sources, APA, $ 86.95
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Abstract
This paper examines the way in which Shakespeare was viewed by the poetic exponents of Romanticism, and how some of the characters of Shakespeare's plays may exemplify the Romantic ideal. This author explains that two hundred years separates the time of William Shakespeare in the Elizabethan era and the Romantic poets and their vision of a society, which put the concerns of the individual to the forefront of political issues. The paper points out that, while direct reference to Shakespeare's works by the romantic poets is less than abundant, John Keats, Samuel Taylor and Percy Bysse Shelley suggest a clear aesthetic link between Romanticism and Shakespeare's texts. The paper examines characters of Shakespeare's plays and how they exemplify the Romantic vision of individual liberty, the freedom of expression and mans' relationship with nature, which feature prominently in "King Lear", "Hamlet", "Romeo and Juliet"."
From the Paper
"If then, life is to be lived according to one's ideals, as opposed to the rules of society, then the examination of cerebral conflict is a relevant concern. It would be a simple matter to make one's point by filling an essay such as this with quotations from "Hamlet", whose central character, it appears, is in a state of permanent confusion, or from Corialanus, who, it could be argued is the most egocentric character ever created by Shakespeare, and whose vanity, ultimately, proves to be his undoing. The Romantic hero referred to in my question however, is, for this critic, personified in the character of the eponymous protagonist of "Romeo and Juliet"."
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The Modern William Shakespeare, 2001.
This essay covers a vast amount of information on William Shakespeare and his plays. This paper explores the ways that Shakespeare's drama has evolved and transformed over time.
3,870 words (approx. 15.5 pages), 15 sources, MLA, $ 105.95
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Abstract
This essay is about William Shakespeare and the ways in which his art has changed and evolved with time. This essay covers many of Shakespeare's plays and many modern film adaptations of his plays. The paper discusses much of the history behind Shakespeare's works and the many sources from which his drama was derived. The essay also deals with Shakespeare's language and the aspects of his invented language that have become a part of our everyday vocabulary. It covers the many characters, plots and genres of Shakespeare's works. The main theme of the paper is centered around the ways modern history has invented a Shakespeare of its very own.
From the Paper
"Who is Shakespeare? What is Shakespeare? Nearly four hundred years following his death, the Shakespearean debate trudges on. In his lifetime, William Shakespeare wrote a phenomenal cannon of dramatic literature. He managed to create an astounding thirty-seven plays in scarcely the span of twenty-five years. Individually, these plays constitute some of the best art ever written. Collectively, these works secure Shakespeare as the principle literary draftsman of the Elizabethan Age. In his dedication to William Shakespeare in 1623, Ben Johnson wrote: ?He was not of an age, but for all time.? To this day, Shakespeare?s creative genius has yet to be exceeded. No writer in any language can rival the eminence and immortal perpetuity that Shakespeare has relished. And no man, in any creative enterprise, has ever impelled a cultural influence as ample or as profound. Shakespeare?s language and extensive lexicon of coined phrases are more ubiquitous in trite conversation today than the myriad of cliched aphorisms present in the King James Bible. His hundreds of characters-the very mirrors of human nature-are equally as recognizable. From small amusements like Bottom the Weaver, to such unparalleled manifestations as Falstaff, Shakespeare has enriched civilization by mimicking it."
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Shakespeare's "A Midsummer's Night Dream", 2007.
This paper compares and contrasts Shakespear's original version of "A Midsummer's Night Dream" with the film version.
990 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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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."
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