CONTEXTUALISING SHAKESPEARE. CONSIDER THE SHAKESPEAREAN FILMS OF ANY DIRECTOR ON THIS rail line IN RELATION TO HIS/HER NON-SHAKESPEAREAN WORK. WHAT PREOCCUPATIONS EMERGE?
This convey will serve at Luhrmanns Red Curtain Trilogy in order to answer this question. His trilogy is comprised of terce take aways made over the last twelve years: purely Ballroom, William Shakespeares Romeo + Juliet and Moulin Rouge. Luhrmann has created a new form of cinematic expression, defined by a theatricalised, participatory form. As in new(prenominal) films, on that point are rules and rules to be followed in order for the picture to be described as Red Curtain Cinema. The story has to be stripe in a heightened and created world, for example, Strictly Ballroom is set in the stylised world of competitive Ballroom dancing. Another convention of the Red Curtain cinematic form is the story. It must be based on a recognisable story shape - like a myth or a fairy-tale. Also, and perhaps most importantly, it is audience interlocking cinema. The audience need to be aware that what they are ceremonial is not real. The created world and use of familiar narrative techniques sanction this alienation. Luhrmann believes that the audience needs to engage with the devices used in the film in order to participate in the viewing experience.
once you agree that youre always watching a movie, youre happy to absorb a moment of high comedy, thence tragedy - then break out into song. These conventions of Red Curtain Cinema are passing game to provide some of the structuring principles of this discussion. There are also other preoccupations that emerge through the analysis of these three films. Luhrmann utilises ideas of the postmodern in his films, especially in Romeo + Juliet. At this point, it becomes necessary to define what this study is going to assume is meant by...
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