Act 4 Scene 4

Act III Scene 3 of Othello reflects the true mastery of Shakespearean plays that transcends throughout history. Shakespeare asserts sentence structure, topics and themes, reveals the scene’s purpose, and depicts the importance of Iago as a character in this scene.

8) If you had plotted the motion of the second hand on your watch instead of the clock that

the camera, e.g the scene at the very start where she is in the bath

Re-creating Hamlet in comic form was an interesting way to study the play as well as get more of an understanding. For my comic, I chose to do act III scene 4 where Hamlet kills Polonius. Incorporating different conventions of graphic novels, as well as including original quotations from the play made this assignment even better because you had to take in many aspects of film while making it flow.

In this scene, the interpreter is no longer afraid of Kichul and his associates after discovering that they are just a bunch of fools who are incapable of defending themselves properly; in addition, she witnessed that Aryoung is not an inoffensive person but a skillful martial arts practitioner who was able to defeat an entire gang group with ease. Once she knows this, she loses the respect and obedience toward Kichul and his associates and regards herself in equal footing with them. Furthermore, due to the gangster’s inability to understand Aryoung, the interpreter acts more boldly as she will not only alter Aryoung’s speeches but also get things for her own interest. This is more evident in the following scene:

as he was always off at war…who else to warm the royal bed than the

One of the first things I noticed when I read act one was the begining scene. The author begins by showing Parris by his daughter’s bedside. The author then shows him praying and weeping. I connected to this because I understood how important loved ones are. The usage of this imagery allowed me to understand his emotions and helped me understand what the character was like in this part of the book.

Scene Eight demonstrates Julie sees unknown X and him what she absolutely should not have seen. The camera frames they are in right side of frame to switch to left side of Julie’s eyes. 8a displays where they sitting, reflects inconspicuous space in dark corner can be able to hide, which expresses natural effects by High-key illumination. “Create a naturalistic effect with graduated shadows and gentle illumination that reveals expression and detail, even in scenes set at night” (Stadler with McWilliam 24).

A knock is heard on a white door with the peephole in view. The hand knocking on the door belongs to Mr. Hillard. The extreme close up of the door soon turns into a medium close up of Mr. Hillard’s brother. The shot suggests familiarity because it does not make the audience feel uncomfortable. After greeting each other, an over the shoulder shot is used and the audience can see Mr. Hillard with pleading eyes, asking his brother to make him a woman. The shot quickly shows his brother’s face, in a medium close up. His brother pulls Daniel into a hug with joy. After their embrace, the pair moves into the house. A dolly tracking shot is used to show all the different kinds of experience his brother has with making faces. There are shelves of hands, and silicon faces, varying from women, men, and monsters. Next to the faces are three mirrors where the audience can see Daniel getting a eyelift. Under the mirror are an assortment of bottles that contain makeup, lotion and skin moisturizers. This shot gives the audience an impression that Daniel’s brother and his husband are professional makeup artists. The next shot is glorification of Daniel’s brother; this implies that Daniel’s brother holds the power to disguise him as a woman.

In the opening scene, among a large crowd of people in Paris, a woman appears fully naked, distracting the crowd, while a man (Richard Madden) picks the distracted onlookers' wallets. Afterwards, the woman and the pickpocket, Mason, meet on a train. She asks him if they can go back to his place, but when he sees two policemen get on the train, he gets suspicious and bolts from the train as the doors close, leaving the woman on her own.

In the scene beginning at 1:27:28 and ending at 1:29:28 starts with a match on action. The first thing we see is Caleb and Nathan discussing Caleb’s plan, then Nathan freaks out and goes checks his cameras. In the next shot we are bought to Ava walking the hallway, as she was when Nathan was watching her in his camera. As this match on action is occurring, we here this non-diegetic music that is used to make the viewer feel very uncomfortable, as if something bad is about to happen. We can also see that something strange is happening because Ava is no longer locked in her little room or what we can now consider a cell. Moving on from the indicators of what is about to happen, Ava finally meets Kyoko face to face, quite literally. When

In act one, scene five, it is the part of “A hall in Capulet's house”. The staging choices reveal the conflict by placing all the characters together. Everything happens in the Capulet’s house. It relates to the theme by placing Romeo and Juliet together; love at first sight. In this statement, it will show how the play has been directed, things about the staging and how it works, and the actual theater..

William Shakespeare’s Romeo and Juliet has been adapted into several films, but the film that properly demonstrates the mood of Act 2, scene 2 is Baz Luhrmann’s 1996 version.

The play Hamlet by William Shakespeare shows the theme of Revenge. Throughout the play revenge is seen as a motivator for many of the characters’ actions. We are taught as young children that rather than solving our problems with revenge, we should simply apologize. Clearly the characters in Hamlet did not learn this, particularly Hamlet himself who is seeking revenge for his father’s death. It seems each attempt on revenge builds up more revenge and eventually everyone just ends up, unfortunately, dead.

ACT I SCENE I. Rome. A street. Enter FLAVIUS, MARULLUS, and certain Commoners FLAVIUS Hence! home, you idle creatures get you home: Is this a holiday? what!