Mise-En-Sc�ne Challenges Linear Temporality

Could there ever be a film adaptation of Romeo and Juliet that is as powerful and moving as the original play by William Shakespeare? Some people say that Romeo + Juliet, a film adaptation made in 1996 by Baz Luhrmann, is as good as the original. Some people disagree with that statement. The argument will be settled within this essay, as the similarities between the film and the play are laid out. The narrative and film techniques that the director used in the final scene brought dramatic and emotional feelings to the tragic death of the “star-crossed lovers” (Prologue, line 6).

The audience is only privy to the information that protagonist has. Therefore, the audience experiences the same emotions and anxiety as the protagonist. Hitchcock controls how much information the audience is given by narrowing it a single character’s perspective. Like Jeffries, the audience becomes suspicions as to whether or not his neighbor, Lars has actually murdered his wife. Additionally, the audience feels the same panic and fear when he witnesses Lisa being trapped in the apartment by Lars. As Jeffries focuses more on each character, the audience learns more about that character’s personality and life. For instance, Jeffries nicknames a woman in a lower floor, Miss Lonelyhearts. Together the audience witnesses with Jeffries Miss Lonelyhearts throwing an invisible guest a dinner party before she breaks down in tears. (Walker) After identifying with her sadness, the audience feels an added sense of panic and anxiety when Miss Lonelyhearts is seen with a bottle of pills and alcohol, insinuating suicidal plans at the same time Lisa is being trapped by

Alfred Hitchcock’s stance in the film business is something to be marveled. His prominent position as the “Master of Suspense” is due in part to the textbook blueprint he created in the thriller genre. His catalogue has many examples, but the two with the most similar psychological depth would be Vertigo and Rear Window. Not only do these two movies thrill on the surface level, but they also thrill from the character’s emotional and psychological stand point. This makes the suspense less abrupt and more of a gradual progression into the classic Hitchcock climax. Hitchcock puts his viewers on a psychological roller coaster due in part to his three useful components: fear, guilt, and redemption.

     Many of Shakespeare's works have been transposed from stage to screen, none so more than Hamlet. Two of the most unique film appropriations of the play are to be found in Rodney Bennett's 1980 film and Kenneth Branagh's 1996 blockbuster. The two films share many parallels between them in both interpretation and method, however they also have marked differences in their respective approaches to the text.

One element that is contributed to Burton's establishments, and cinematic style are flashbacks. Flashbacks show what occured in the past. For example, in the film Edward scissorhands, there's a scene where Edward Scissorhands has a flashback of his father replacing his hands with prosthetics. Flashbacks make the audience feel sympathy, because he is close to getting hands but his creator died. This flash back is essential for defining Burton's style, because flashbacks are necessary to the plot, or gives characters depth and meaning. Similarly, in "Charlie and the Chocolate Factory", the director uses flashbacks in the scene where Willy Wonka had a flashback of his childhood. In this scene, the audience learns how Wonka's father was exteremely strict on eating candy. This goes to show how Wonka became a candy maker. Furthermor, in "Corpse bride" Emily, the corpse bride, has a flashback of when she was alive, and when she was in love with a lord. It finally

“Is this a dagger which I see before me, the handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still." –Macbeth Act two, scene one. Guilt, insanity and the everlasting evil within human nature haunts Macbeth, William Shakespeare’s main character in his play Macbeth. From Shakespeare’s play, the themes and ideas have been interpreted on film as PBS and director Rupert Goold filmed “Macbeth” in their own ideas and interpretations.

Mise-en-scène refers to the arrangement and setting up of the stage or set in a movie or play. This consists of setting/décor, costume, props, actors and lighting (Bordwell & Thompson, 2008, p.112). In the ‘two pills’ scene, the setting appears to be a sitting room in an old, abandoned house. The décor that now looks dull and drab gives the illusion that it was once a very grand room. There are wooden, period furnishings and the walls appear to be made up of wooden panels. The clip takes place in front of an old, marble-like fireplace. The décor alludes that the setting has been neglected and perhaps forgotten about.

A crucial element to the narrative’s unease is Bierce’s organization of events. The blurred separation between imagination and reality leaves the reader bewildered as to what will happen next. The opening of the piece clearly explains how a man is to be hanged, however, as the story progresses, the reader wonders whether the beginning is just a ruse. After the rope separates from the bridge, “ the cord fell away; his arms

This describes where Brandon’s obsession with Rupert began. The attraction to Rupert can also be seen during Rupert’s conversation with Mrs. Atwater. During it Rupert explains that murder should be an art. Soon after, the camera begins to pan away from Rupert and Mrs. Atwater. You then see Brandon listening in on the conversation, he begins to slightly lick his lips and then joins in on the conversation with full excitement and passion.

Despite the influence of German expressionism in the film’s style and subject matter, the Classical Hollywood narrative remains. Important to Classical cinema is clear unity and resolution at the films conclusion. The narrative is motivated through goal-oriented characters, often driven by deadlines or appointments. Henry is forced to conduct the experiment because the Monster has taken Elizabeth hostage. The narrative progresses through cause and

Stewart displayed his wound which was typical of him throughout his career. His emotional vulnerability forces Naremore to call him “the most intensely emotional leading man to emerge from the studio system” (254). Stewart carries his wounds as a signifier of his emotional distress. He bears prominent leg wounds in films like the Rope where he has a limp from another war wound, and in Rear Window, he spends the film in a full leg cast and by the end he has two. Stewart’s performance that usually revolves round his wound and in certain scenes they are dwelt to such an extent that it escapes the issue of masochism. Silverman discusses the relationship between masochism and a conflicted or subversive masculinity, pointing out that for Theodor

Baz Luhrmann adaptation of William Shakespeare’s Romeo & Juliet is modernised to convey the meaning of the original play more appealing to today’s audience. He keeps the Shakespearian language but changes the props, clothing, setting and music. By using these different techniques he makes the movie effective to the audience.

The film itself consist of complicated and unpredictable storyline that is started when a private detective whose named Phillip Marlowe (Humphrey Bogart) is assigned to help General Sternwood (Charles Waldron) who is recently get blackmailed by possibly bisexual,

For example, he swayed his hand to and fro while one lantern was centered on him, creating a shadow on the wall. When the narrator was executing his “ingenious” plan for murder, he slowly entered the room, crouching down for what seemed like an eternity, and opened the lantern to shine light on his victim, showing his vulture-eye, therefore giving the narrator the motivation to kill him and giving the audience an uneasy feeling. The narrator's body language showed tension as he was anticipating the right moment to kill the old man and as he was lightly conversing with the police officer. During the majority of the play, the narrator would laggardly ascend and descend the stairs which captured his increasing uneasiness. The actor's true skill in portraying his character was most perceptible as he carried out the murder of the old man. He kills and dismembers him happily, clearly showing the audience that the character is in an unhealthy mental state. Additionally, the narrator continually explains to the audience that he is not insane and attempts to prove it by explaining his master plan of murdering and hiding the old man. However, the more the narrator explains to us how sane he believes himself to be, the more we believe he is not. To represent a change in setting, the narrator opens an imaginary door and paces up and down the stairs. To show time progressing, the narrator

Charlie Kaufman and Michel Gondry found the perfect, fragmented form to simulate memories in the non-linear storyline of Eternal Sunshine of the Spotless Mind (2004). The thematic elements of the film helps this simplistic story of love found, lost, and found again develop into a complex pattern, much like the workings of the brain. Each character is everything you would expect them to be in real life – down to earth, imperfect, and hopelessly searching for the love someone can only dream of. We can relate to them because we all long for more than we are, and want the best of us to be shown to someone else. Memories make up who we are, they define us. Life teaches us lessons which shape our memories, and in turn, we learn from them. What if those memories were gone? Are we still destined to be the same person? The protagonist of the movie is Joel, and the story surrounds his relationship with Clementine. The antagonist can be seen as Patrick, who tries to destroy their relationship, or Lacuna Inc., whose purpose is to make them forget their relationship. Charlie Kaufman has created a beautiful story that incorporates so many valuable forms in cinema, and leaves viewers on the edge of their seat until the very end. My goal is the show the class concepts of this narrative, as well as demonstrate how the way the film’s story is told