Similarities Between Anna Karenina And Out Of Africa

In ‘Neighbourhood Watch’ a non-naturalistic performance style is used to allow the audience to make sense and develop their understanding of the present characteristics of the characters. Flashbacks of the main character are portrayed in non-naturalistic form as we see Anna’s friend Catherine playing out the role of ‘young Ana’. This is evident in Act 1 Scene 10 and Act 1 Scene 16. All three scenes require the Catherine to transform into a new character called ‘Young Ana’ as we flashback into the past scenes of Ana’s imagination; this is evident in the texts stage directions ‘ARTUR speaks to CATHERINE now, as though she is the young ANA. The real ANA steps slightly away’ to show the transformation of ANA into CATHERINE. However the scenes are set within the setting of the present time, for instance, the text stating ‘Ana’s home transforms into Hungary’ shows the non-naturalistic setting of the scenes. Both performance techniques are elements of the Non-naturalistic performance style and highly reflect the non-naturalistic nature of the performance.

To play one of Shakespeare’s most complex roles successfully on stage or on screen has been the aspiration of many actors. William Shakespeare’s Hamlet has been the focus on various accounts throughout the 20th Century, each actor attempting to bring something unique and unmarked to the focal character. Franco Zeffirelli and Kenneth Branagh, both film directors, introduce varying levels of success on the screen through downright differences in ways of translation and original ideas. Zeffirelli’s much shorter interpretation of the film is able to convey the importance of Hamlet as a masterwork by using modern approaches to film but still capturing the traditional work behind Shakespeare’s well-known play.

Baz Lurhmann’s creation of the film Romeo and Juliet has shown that today’s audience can still understand and appreciate William Shakespeare. Typically, when a modern audience think of Shakespeare, they immediately think it will be boring, yet Lurhmann successfully rejuvenates Romeo and Juliet. In his film production he uses a number of different cinematic techniques, costumes and a formidably enjoyable soundtrack; yet changes not one word from Shakespeare’s original play, thus making it appeal to a modern audience.

Oliver Parker’s 1995 interpretation of Shakespeare’s 1600’s timeless classic Othello presents a differing construction of Othello from the original play, achieved through uses of a plethora of film devices. Both the play and the film masterfully spin a tale of romance, tragedy and death telling the fall of glory of Othello due to the acts of his ensign Iago, albeit with several differences in the presentation. Both Shakespeare and Parker explore themes of jealousy, power, and racism through the key characters of Othello and Iago. Parker utilises cutting, close-ups, mise-en-scene, music and a variety of others to bring his own in-depth dissection and construction of Othello.

This genre is typically modern, perky and upbeat, but the common narrative in all of them is that it features a woman who is strong and she overcomes adversity to reach her goals. There is also a message of empowerment that also struggles with a romantic predicament and using comedy to poke fun at the male characters. Industries are still producing soppy romantic comedies for the female audience but the divide between the standard chick flick and romantic comedy is slowly disappearing. Similarly to the beginning of this essay it is evident that institutions are moving in the direction of women’s place in culture in relation to this film genre; women are usually shown as the super power since they are made to appeal to the female audience. However

Staged in different time periods, in different cultures, with modified roles, and in any other creative way, Shakespeare’s plays have been interpreted in many diverse ways. Everyone knows the interpretation of The Taming of the Shrew as teen movie 10 Things I Hate About You and the more famous West Side Story, which parallels Romeo and Juliet. Although most of these modern movies have a purpose to entertain, each adaptation adds a new, unique layer to the overall meaning of Shakespeare’s play. Moreover, a person can not grasp the full meaning of the play without the assistance of a full production.

In the films, Even in the Rain by Icíar Bollaín, The Namesake by Mira Nair, and The Great Escape by John Sturges, I will be discussing chapters: One “Looking at Movies”, Two “Principles of Film Form”, and Four “Elements of Narrative”. These three directors employ the techniques of narrative and film form to create movies about morality, identity, and freedom. In chapter one: “Looking at Movies” of Looking at Movies, Richard Barsam and Dave Monahan discuss the effects of expectation on film. “Even the most general knowledge affects how we react to any given film” (page 13).

''Is my self different from my actions on the outside and if I change how I act,how does it change who I am on the inside''1 is the question that lies at the heart of the film,Stage Beauty by Richard Erye.Though the film bears a typical plot of rise and fall of the central figure,yet it is intricately linked with a sense of self and identity making the typical trajectory complex.Edward or Ned Kynaston(Billy Crudup),16th Century theatre artist is the central character partnered with Claire Danes-dresser(Mariah) to Kynaston and one of the first woman to perform on London stage-Mrs. Margaret Hues.The movie moves in a linear fashion,with Kynaston a star performer in the 1660's, betrayed by his dresser(Mariah) and the law which allows women to act

Often when many people think of the play Hamlet, they envision the setting in the late middle ages between the fourteenth and fifteenth century in a royal palace in the city Elsinore, Denmark. However, the performance presented on the afternoon of November 20th was much different than the typical Hamlet tragedy with knights in their armor, a wonderful castle, and a lot of gold and riches. This performance was unique in its own way with the setting as a Catholic school with girls who are reading the play in their homeroom. Although the play was very one-of-a-kind performance with many exceptional elements, there was also some parts and elements of they show that stuck out to me and took away part of the effectiveness.

If pain is a reliable measure of truth, then Frances, the protagonist of Noah Baumbach’s new film, “Frances Ha” (played by Greta Gerwig, who also co-wrote it)—who sets herself adrift in the stream of time and gets caught in a waterfall—is utterly dans le vrai. Frances is a twenty-seven-year-old woman, originally from California, who starts out in Brooklyn (her changing addresses, in the form of title cards, punctuate the movie throughout) as an apprentice dancer in a small company where she’s aspiring to full membership. Instead, she gets dropped from its roster, and her life goes into a sudden downward cascade.

Akerman forces the viewer to watch a task in its entirety from beginning to end i.e. peeling potatoes, thereby confounding the conventional practice of inferring a completed action through its editing. For the spectator, there is none of the entertainment usually associated with cinema, watching these tasks being fulfilled; they are faced with the same monotony associated with patriarchy and imposed on women in their daily lives. The shots are not cut, and give the viewer a real sense of “lived in” real time. Akerman’s conscious ‘non-editing’ becomes a technique in which to explore the limitations of woman’s daily life. Further, the spectator becomes self-aware that they the find the reality of woman’s work, when on screen, mundane and this is an uncomfortable

important device that she uses to execute her stories, because they are all personal and the subject is inspired by the African continuum.

Hamlet by William Shakespeare is one play that has intrigued people for over four hundred years. There have been as many productions as there have been days since the original play 1596-1603. Each production has been different from the next one, no matter where performed or by whom. One film reproduction of Hamlet released in the year 2000, was directed by and stared Etahan Hawke as Hamlet and Julia Styles as Ophelia. This essay will refer to this film as Hamlet 2000 and the original play as Hamlet or text. To compare the text to the film Hamlet 2000 will be divided into three groups, language, setting / plot line and lastly the characters. All though the speech is taken only from the text, the film Hamlet 2000 is vastly different,

The book has been described as a modern classic that contains seven stories which combine the psychological insight that is characteristic of the short stories in the modern age with the gothic style writing that are characteristic of the tales in the nineteenth century. Karen was a well known Danish author who rose to prominence with the publishing of this collection of short stories as well as her most famous piece of work, the memoir named Out of Africa.

This idea is relevant because on the stage, the Restoration actress, is nothing but an ornament in the male gaze. This attitude is apparent as Thomas Shadwell links the new phenomenon of female performers with painted theatrical scenes, both innovative commodities for audience consumption: