Analysis Of Richard II By The Bbc As A Part Of Their Hollow Crown Series

Many people prefer the book version of a story rather than the film it tries to become. This is due to the fact that the author’s intent of his own story is much more intriguing and familiar to its readers than just another film version. However, some versions portray the story better than others. Hollywood seems to have taken up the responsibility of creating complicated and compelling characters on screen. Unfortunately, doing so can easily take away a story’s rich, necessary detail. For instance, Shakespeare’s Othello has a few different movie versions of his story. Both movies, the 1990 version by Trevor Nunn and the 1995 version by Oliver Parker, are great productions carried by strong casts. However, there are areas in which the movie and the play differ. These differences tend to interpret the film in a different way compared to what Shakespeare intended. The film portrayals of Shakespeare’s Othello by Parker and the other by Nunn both display the character of Desdemona in very different ways. The Nunn version of this play did a much better job of portraying Desdemona as Shakespeare

While analyzing pieces of literature written by Washington Irving, Nathaniel Hawthorne and Katherine Anne Porte, we are able to compare and contrast the literary devices used throughout the stories. Along with those pieces of literature comes movies which were based upon the story. While comparing the book to the movie we are able to see how the producer chose to portray the literary elements such as characters,plot and the settings in the stories, along if he had decided to leave some of the story out and or create an alternative resemblance of a certain scene from the book.

Shakespeare’s plays were grouped into three categories: comedies, tragedies and histories. The histories were those plays based on the lives of English kings. Shakespeare was one of the first writers to write about English history. According to Garber, “before Shakespeare’s time there were few history plays such written in England--- England history was told in verse and prose chronicles (239)”. It’s considered that Richard II is one of the early “historical plays”. The play became so iconic that even Queen Elizabeth said that she was “Richard the second, know ye not that”. Richard II tells the story about a king’s downfall.

The language of Shakespeare connects both King Richard III & Looking for Richard, enriching the significance of each & enabling both to provide continuous meaning for a range of contexts. The apparently outdated language of Shakespeare is given new life for the modern context, enabling audiences to better understand the original text & thus elevating the play. The film Looking for Richard, through rehearsals of actors, cuts between scholars and ‘random’ people on the street,

Textual form is an issue which divide many critiques and audiences. Some view texts as a form being superior and more expressive, whereas others may view film as to be losing its credibility of expression. Never the less it is adamant that through a comparative study of two differing forms exploring similar ideas it becomes clear that one form isn’t always superior over another. Mary Shelley’s Frankenstein (1818) and Ridley Scott’s Blade Runner (1982) mirror this thesis. Whilst being

Texts and ideas from texts are appropriated and transformed into other text forms and other compositions in a different context. An appropriation is a text that is appropriated or taken over by another composer and presented in a new way. ‘Romeo and Juliet’ is a well-known high culture text that is a tragedy about two young star-crossed lovers whose deaths ultimately unite their feuding families. In the 1997 film, Baz Luhrmann has taken what is valued about the original play of ‘Romeo and Juliet’; the themes, evocative language and poetry, the timeless storyline and humour, and has placed it in a context which is accessible and

King Richard the First, also known as Richard the Lionhearted was the king of England from 1189 to 1199. His life was filled with surprising evince and interesting stories. He did not like the weather in England and only spent a little of his time in England, when he was king. Some interesting things that happened in his life time is he was imprisoned as king and he joined the Tired Crusade. He had a good relationship with the church in the time of his reign.

Richard III is the story of a villain who will commit unspeakable crimes in order to attain power. However, it is important to remember that it is just that, a story. Shakespeare wrote to entertain, and sometimes in order to captivate an audience, history must be embellished. For example, the events on which the play is based span 14 years, although the runtime of the play seems to suggest that it all took place within a few months. Even though this play is classified as historical, it fits more in the historical fiction genre as Shakespeare bases it on actual events but takes artistic liberties with his characters. In Richard III, due to the political climate of his time, Shakespeare characterizes Richard as ruthless and power hungry in order to paint the Tudor dynasty in a superior light.

Whenever books are adapted for film, changes inevitably have to be made. The medium of film offers several advantages and disadvantages over the book: it is not as adept at exploring the inner workings of people - it cannot explore their minds so easily; however, the added visual and audio capabilities of film open whole new areas of the imagination which, in the hands of a competent writer-director, can more than compensate.

The Arabian Nights is renowned for its multiple uses of enframed narratives. The layering of stories adds new meaning to the various tales of The Arabian Nights by bringing up new questions. In every story one reads, one finds themselves asking why Shahrazad would tell such a story, what kind of message is this tale giving Shahriar, and why bother telling another story within an already enframed story. However, The Arabian Nights is not alone in its use of the enframed story. Works inspired by The Arabian Nights use their own enframing devices in order to alter how one perceives and understands the stories these offshoots have taken from The Arabian Nights. The adaptations this paper will look at include Disney’s Aladdin film, Pasolini’s Arabian

The pursuit of individual recognition in the form of power and authority remains intrinsic in texts despite the change in contexts. This is evident in William Shakespeare’s 16th century play, King Richard III and Al Pacino’s 19th century docu-drama, Looking for Richard. Both texts explore that the pursuit of individual recognition can be initiated by an individual’s flaw in character caused by the corruption of their sense of morality in order to gain power. This is depicted through the malicious and treacherous nature of the central character, Richard in both texts. There are central ideas conveyed in these texts, including the nature of authority, the acquisition of power and the significant impact determinism plays in one’s decisions and actions. However, due to the difference in cultural context, Pacino reshapes these values to make Shakespeare accessible to a modern day audience. As a result, Pacino sequentially follows the plot of King Richard III in order to emphasise the relevance of Shakespeare’s plays in a modern society. Pacino addresses this through an emphasis on film techniques instead of dramatic techniques. Therefore, it is evident that the comparative study of these texts allows the responder to appreciate the connection between contexts and values, allowing the responder to reflect upon their own society’s concerns.

“The last thing you want is Hannibal Lecter inside your head.” It is a daunting task to effectively transfer textual tonality from page to screen. Balancing proper visual interpretations of the text with original insights is not an easy procedure, and not every filmmaker is equipped with the artistic skills necessary to complete such an undertaking. Alejandro Jodorowsky’s wildly unsuccessful attempt at adapting Frank Herbert’s Dune, for example, ended in bankruptcy for the studio and premature cancellation of the project due to the extensive runtime the film was to have in accordance with the length of the book. Many filmic adaptations fail in their inability to recapture and translate what originally gave a text literary merit. Jonathan Demme’s adaptation of the quintessential Thomas Harris novel Silence of the Lambs is so well

Hamlet, one of the most intricate and influential plays by Shakespeare, debatably of all time. It has inspired not only appreciative readers and writing critiques but continuous generations of people. The inspiration led to the fabrication of many great movies, which wasn’t achievable until the 20th century. Before cinema was the prevalent method of sharing appreciation and spilling emotion for a specific subject, art portrayed what would fly through our minds such as the many interpretations of Ophelia’s death. With the imagery put into motion we can try and pick apart how certain people might view the play being portrayed and choose what best suits our expectation of this tragedy. Other things that only film has been able to present to

play was to be acted; this had an entrance and an exit. There was no

Let us begin with Richard II and Richard’s extra-legal actions in act 1. As we shall see, though Richard here seizes the exception and establishes himself as sovereign over English law, his actions create a dangerous precedent that will eventually prove the king’s undoing. The play famously begins with King Richard mediating an argument between Henry Bolingbroke and Thomas Mowbray. As Katherine Eisaman Maus explains, the two “are fighting about the murder of Thomas of Woodstock;” though “Bolingbroke knows that Richard secretly ordered Woodstock’s death,” he nevertheless “cannot say so, [and must] pic[k] Richard’s agent Mowbray for his target” (“Introduction to Richard II,” 973). Richard, cognisant of his own guilt in Woodstock’s death, cannot allow the matter to proceed legally, and defers judgement in favour of a trial by combat—an already antiquated means of determining whose cause was right that acts under the presumption that God will favour the just cause and allow the innocent man to win (973). Richard, however, senses that Mowbray’s loss would “fright fair peace / And make us wade even in our kindred’s blood”—that is, ignite civil war—and so of necessity asserts his own authority over that of his own laws: he diffuses the situation by ‘mercifully’ banishing the combatants from the realm and thereby preventing further crisis (1.3.131-132). In so doing he rises to Schmitt’s hypothesised role of