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Essay / Research Paper Abstract
A 10 page paper which compares and contrasts how these films based on Shakespeare plays remain faithful to and deviate from the original works. Considered are Franco Zeffirelli’s “Romeo and Juliet” (1968) and Baz Luhrmann’s “Romeo and Juliet” (1996), Orson Welles’ “The Tragedy of Othello” (1952) and Tim Blake Nelson’s “O” (2001), Paul Czinner’s “As You Like It” (1936) and Christine Edzard’s “As You Like It” (1992), and Franco Zeffirelli’s “Hamlet” (1990) and Michael Almereyda’s “Hamlet” (2000). Bibliography lists 8 sources.
Page Count:
10 pages (~225 words per page)
File: TG15_TGbardprod.rtf
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Unformatted sample text from the term paper:
He has achieved a kind of lofty literary eminence no one has aspired to before or since. His plays have forever frozen the Elizabethan period in time and
are so embedded in the collective conscious that teachers often use his works to bring history to life. But is that all Shakespeare has become - a relic of
a bygone era - or do his plays have relevance today? While most early screen versions of Shakespeares comedies and tragedies contain little in the way of deviation and
are altered only in terms of conforming to time constraints, postmodern directors prefer putting everything including Shakespeare within the context of the here and now. Some of the Bards
most famous works - Romeo and Juliet, Othello, As You Like It, and Hamlet - have been cinematically conceived within a contemporary perspective. As a result, cobblestone streets have
been transformed into concrete jungles and sixteenth-century teen angst may more closely resemble a rock video. Italian director Franco Zeffirelli has provided audiences with the most popular celluloid
incarnations of Shakespeare. His 1968 production of Romeo and Juliet remained faithful to the original text by even casting young and inexperienced actors in the lead roles (Leonard Whiting
and Olivia Hussey). The play opens with the servants, Samson and Gregory, lighting the fuse that re-ignites the family feud between the Capulets and Montagues. While Zeffirelli has
been criticized for concentrating too much on the male characters of Romeo, Mercutio, and Tybalt, even controversially omitting Juliet faking her death, which was an important climax in the play,
the Italian settings are authentic as is the message of two star-crossd lovers that have been cursed by fate. In stark contrast is Baz Luhrmanns 1996 Shakespearean resurrection,
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