Abstract
This paper discusses that, from "Hamlet" ,you can understand the general techniques Olivier would employ in his other Shakespearean films. The author points out that Olivier transformed Hamlet from a dark and moody stage performance to a dark and moody film performance; thus, he has, in every aspect, maintained not only the theme and plot of the play, but even its scene settings. The paper concludes that Olivier is a great, versatile director, like Kurosawa, who not only made movies for the sake of attaining success, but also for giving integral messages to movie viewers through the art of film making.

From the Paper
"It is obvious from Hamlet, that Olivier would make his other movies, based on Shakespearean novels, of manageable length while updating some of the obscure phrases presented in all Shakespeare's stories. Olivier also would rearrange some of the scenes to fit his own style. In Hamlet, he cinematically represented all scenes, which could have been performed on theatrical stages such as the killing of Hamlet's father, Hamlet's act of insanity with Ophelia, Hamlet's seizure by the pirates and the death of Ophelia. In other words, Olivier would try his best to enhance the audience imagination."

Tags:techinque, stage, scene, Kurosawa, style

Abstract
This paper examines the growth of Pablo Picasso's art as a result of his romance relationship with Fernande Olivier. It illustrates Picasso's inspiration from Fernande to experiment with style, which brought him out of his blue period into his rose period and eventually into cubism. The paper claims that Fernande is responsible for influencing Picasso's mode of living and his way of painting.

From the Paper
"Pablo Picasso was one of the key artists involved in the development of Cubism. During that same time period, he was involved with a young woman named Fernande Olivier, who also served as his model for several works, both paintings and sculpture. Their meeting can be considered fortuitous, for in some degree, the meeting helped change direction for Picasso in his work, though there were many other influences on the artist as well pushing him and associated artists in the direction of Cubism. Picasso's early years after settling in Paris permanently were marked by the influence of Fernande Olivier, his first mistress. Prior to Picasso living with this woman, his nude works were fewer and not as freely expressed. It seems that his exposure to a relationship such as this allowed Picasso to express his responsiveness to beauty. After meeting his first true love, Fernande, Picasso showed a significant change in the tone of his works. While she provided the impetus for much change, Fernande was never directly involved in Picasso's works except as occasional model and was seen by many of his friends as an obstacle to greater work on his part."

Tags:cubism, modern, painter, sculpture, model, nude, family, matisse

From the Paper
"One of the best film versions of William Shakespeare's Hamlet is that directed by and starring Laurence Olivier and made in 1948. The Olivier film is dark, brooding, and truly theatrical, with sets that are suggestive rather than realistic, expressionistic rather than precise. The darkness of the image is matched by a darkness of spirit and a sense of foreboding that hangs over the film from the first frame. Such a dark and expressionistic setting fits quite well with the internal brooding of Hamlet. The character of Hamlet is considered difficult because he is seen as passive rather than active for most of the play. Early in the play he is given the task of avenging his father by his father's ghost, and yet for most of the play he seems to do nothing about it. He is highly reflective but inactive until the very end of the play when he does.."

Abstract
The paper argues that the marked disparity between the directors' representations of the enemy in "Henry V" highlights and epitomizes the different socio-political perspectives of the two films. The paper discusses how Olivier's film delineates a historical epic and patriotic propaganda film, while Branagh's film captures a realistic and alleged anti war viewpoint. The paper goes on to show how the directors' manipulation of the French enemy shapes not only how the audience views and interprets Henry's project but also his character. The paper illustrates how to achieve their contrary visions, both directors altered Shakespeare's text, deleting or reassigning lines and characters whilst skilfully exploiting the resource of the camera to evoke the desired audience response.

From the Paper
"As with Shakespeare's text, the central conflict in both films remains between the English and the French, yet a very different image of England's enemy emerges in these two films. Our first glimpse of Olivier's French court reveals a scene seemingly designed as a static tableau reminiscent of medieval manuscript illustrations, such as those produced by Limbourg of Les Tres Riches Heures du Duc be Berry (Loehlin:1996:37) in the fifteenth century, and thus contemporaneous with the Battle of Agincourt. Olivier's mis-en-scene is lavishly dressed and costumes are sumptuous and colourful, creating visual charm for the audience. Lack of character movement and the use of mid and long-range camera shots frame the pictorial effect of these scenes."

Tags:propaganda, patriotism, anti, war, Dauphin, Montjoy, French

Abstract
This paper reviews and discusses the contrast of the female characters in "Hamlet", as portrayed in two 20th century film productions: Lawrence Olivier's 1948 production and Kenneth Branagh's 1996 version.

From the Paper
"Shortly after this sequence, Hamlet bursts into his first soliloquy, and through this "textual transposition," placing the Ophelia scene immediately after the first soliloquy...a direct link is created between Hamlet's sense of sexual betrayal in Gertrude's "dexterous posting" between "incestuous sheets" with his uncle Claudius and Ophelia's refusal of him as a chaste or sexual lover. (Dawson 178; "Hamlet" I.2) The former seems likely, given that the actress who plays Ophelia seems so innocent, blond and docile to her father and brother's wishes, in contrast to the young, sensual brunette Gertrude. Oliver's Gertrude hardly seems old enough to have a mature son, although she also seems anything but innocent in the caressing way she behaves towards Oliver, even at the outset of the film."

Tags:kate, winslet, ophelia, Gertrude, Claudius, Julie, Christie

Abstract
In comparing and contrasting the Laurence Olivier version of "King Lear" in 1984 with the Peter Brook version in 1971, the author notices a number of variables in the body language of the actors and their clothing. There are several similar elements that both renditions share, as might be expected and quite a few different aspects and approaches, especially regarding the respective physical portrayals of their characters by the respective actors and actresses.

From the Paper
"The character of Hamlet in the play of the same name by William Shakespeare has long been a difficult one for critics to assess because he is seen as passive rather than active for most of the play. Early in the play he is charged with the task of avenging his father, a task given him by his father's ghost, and yet for most of the play he does nothing about it. He is highly reflective but inactive until the very end of the play when he does his duty, destroys the man who killed his father, and is himself destroyed. Critics have pondered the question of why he waits so long. In his film version from 1948, Laurence Olivier answers this question in a spoken prologue, stating that this is the tragedy of a man who could not make up his mind. There is no prologue in the Franco Zeffirelli version from 1991, with Mel Gibson in the title role, and it is less clear why Hamlet..."

From the Paper
"Film critics point out from time to time how much the director brings to a film and that if two directors were given the same script to shoot, the results would be very different. Filmmakers are almost never given the same script to shoot, but an exception can be found in plays based on Shakespeare where the same essential script is indeed used and where decisions regarding such elements as costume and set design along with visual style can produce works with very different attitudes based on the same initial material. This can be seen in three versions of Hamlet, the Laurence Olivier version from 1948, the Franco Zeffirelli version from 1990, and the Kenneth Branagh version from 1996. The films have very different "looks" as well as giving emphasis to different aspects of the plot, the characterizations, and other elements, and watching the three ..."

From the Paper
"The opening scene of a play is arguably the most important, for it sets the tone for all that is to follow and creates the proper atmosphere, begins the themes, and draws the audience into the interplay that follows. The opening scene in Othello introduces the characters and the situation, evokes the desire on the part of Iago for revenge, and foreshadows much of what is to come. Different film versions of the play treat this scene in different ways, but each seems to recognize that the scene itself sets a tone. This means that each film uses the opening scene to indicate what sort of treatment the play will receive thereafter. This is evident in the recently revived film from 1952 by Orson Welles and in the 1965.

In Othello, race is an issue from the first in much the way it would be today. Othello is an important general and so is..."

Abstract
This paper examines the characters of the two heroes of this epic historical poem. Their characters are first discussed individually for their strengths and weaknesses as "heroes" and then compared with each other while examining how they complement each other.

From the Paper
"The characters of Roland and Oliver (sometimes written Olivier) in the epic poem "The Song of Roland" are friends, fellow warriors, and are connected in several other ways. The two together represent different aspects of the heroic character. The two also represent certain traits and values which help the reader understand the values in feudal Europe."
The character of Roland in the epic poem The Song of Roland may be partially a historical character, a knight in the court of Charlemagne and a key figure in the battle against one specific ruler in a battle at Roncesvalles in northern Spain. Roland and Olivier both represent Christian values fighting against the pagans, and the initial demand is that each ruler who comes under the sway of Charlemagne is to renounce his old religion and convert to Christianity or be put to death."

Tags:Charlemagne, europe, feudal, warriors, hero, history, Ganelon, Marsile, Christianity, Alde