Luhrmann and Zeffirelli introduce the characters of Romeo and Juliet in their film versions of Shakespeares play Essay Example

Luhrmann and Zeffirelli introduce the characters of Romeo and Juliet in their film versions of Shakespeares play Essay Example Luhrmann and Zeffirelli introduce the characters of Romeo and Juliet in their film versions of Shakespeares play Paper Luhrmann and Zeffirelli introduce the characters of Romeo and Juliet in their film versions of Shakespeares play Paper Essay Topic: Romeo and Juliet Films are made to make money and attract mass audiences. Most filmmakers want to aim their film at a wide range of people so that their film is a box office success. Films are more advanced than performances of plays in theatres as they can use lighting, sound effects, music and cameras to create atmosphere and influence peoples reactions by using close-up shots of things they want the audience to take notice of. In a film the camera is the viewers eye so they can only see what the camera allows them to but in a play the audience can see everything at once and the camera isnt there to zoom in on something which they need to recognise as significant as it can in a film. Filmmakers can also use costumes and settings to suggest a characters personality or the atmosphere of the place they are in. Also, in films, computerised sound effects and real settings can be used. In films they can have sets outdoors, in houses and anywhere else they need to but in a play they cannot have real settings as they are all artificial and have to be changed for nearly every scene. In plays they cannot have large crowds of people for a battle or suchlike as they would not all fit on the stage so they have to have limited numbers and this, therefore, is not as realistic as it can be in films as they can have thousands of actors if they need them. Lastly, as the dialogue in plays is sometimes far too long, filmmakers often cut the text in places and move it around in the plot until they are happy with their scripts. This technique is not often used in plays as they tend to be more traditional and stick to the original text. The Zeffirelli version of the play was made in the late 1960s and was aimed at a wide range of people from very young to very old. Zeffirelli wanted to give people a traditional film of the play so he kept most of the original text and used music and costumes which would have been appropriate to when the play is set. It was a box office smash hit even though Zeffirelli shocked many people by being experimental he chose two, very young, unknown actors to play Romeo and Juliet and used (at the time) very innovative camera movements. Luhrmann chose a very different approach to making Romeo and Juliet into a film from Zeffirelli, as he did not do a traditional version at all. He aimed it mainly to bring the younger generation of people an understanding of Shakespeare and so modernised it so that it would appeal to the audiences of 1997. Even though there was a 30 year gap between the making of these films, they were both very successful and attracted mass audiences. I will now look at the similarities and differences between the two versions. Both directors decided to frame Romeo the first time he is seen Zeffirelli in an archway and Luhrmann in a cliff. Both the films suggest Romeo has been alone in the first shots of him as he is seen walking back into the city by himself. In both the versions Romeo is implied not to be as rough as the other lads and doesnt seem to fit in with them in Zeffirelli he comes back to the city holding flowers while in Luhrmann he uses very soft focus on Romeos face and Romeo is alone, looking out to sea which implies he is very romantic when none of the other lads are. Also, in both the films, as soon as the camera switches to Romeo for the first time the music becomes slow, dreamy and romantic which is emphasising his youth and romantic feelings. Both directors used, at the time of making their film, very innovative camera movements, for example in Zeffirellis version the camera went through peoples legs in the fight scenes. However, there are also many differences between the two films. Zeffirelli aimed to do a traditional film of the play so that people would know what Shakespeare is really like but Luhrmann aimed to bring the modern generation of people an updated version and to show that the story is still relevant today. Therefore Zeffirelli chose to keep most of the original dialogue from the text, to use Shakespearian costumes and music which would have been appropriate to when it is set but Luhrmann cut lots of the text, did not use Shakespearian costumes and had modern pop music playing in the background. Also, Luhrmann did not set the film in Italy as Zeffirelli did, he set it in a big American city which showed the modern audiences that the play is still significant today. In Shakespeares day, Italy was the main country and also had the most power but when Luhrmann remade the film 30 years later, America was now the Italy of the 20th century and so he set it there so that the viewers would think it applied to them, and was not just a Shakespearian play which was not relevant any more. Luhrmann also used references to modern films in his adaptation which a modern audience would understand and enjoy but Zeffirelli did not have any references at all in his film which suggests that he was maybe trying to appeal to a slightly older generation of viewers than Luhrmann was. Zeffirelli shocked people when he made his film of the play as he chose two very young, unknown actors to play Romeo and Juliet but when Luhrmann made his version in the late 1990s he chose two older, better established, American actors. In Zeffirellis version all the characters except the nurse spoke RP which is often associated with Shakespearian characters but in Luhrmanns he changed the text so that it could be spoken in American English and still sound Shakespearian. Zeffirelli also chose to use two actors who fitted the Italian stereotype of dark hair, dark eyes and olive skin but Luhrmann chose two actors who did not fit it at all. However, I think the main difference between these two film versions of the play is that Zeffirelli opted to do a traditional version and Luhrmann updated it so that it would still appeal to a younger modern audience. The introduction of Romeo is quite similar in both films. I will look at how Zeffirelli introduces him first and then how Luhrmann does it. In Zeffirellis dramatisation of the play as soon as the audience get their first view of Romeo, the music becomes slow, innocent, romantic and dreamy. Romeo is framed by a big archway which emphasises to the audience how small, young and vulnerable he is and he is walking back into the town holding flowers which shows that he must have been alone. As he is holding flowers and smiling this suggests that he is not like the other lads he is not aggressive but is gentle and doesnt seem to fit in with the other lads which is why he has separated himself from them and gone somewhere by himself. He is wearing a traditional Shakespearian costume which emphasises Zeffirellis aim to keep the film as authentic as he could. As the music is dreamy it implies that Romeo is a bit of a daydreamer and he seems to have a dreamy expression on his face until he sees his parents and Benvolio when his expression changes to an uncomfortable, uncertain look. He moves into the shadows of the walls which suggests he is secretive and doesnt want his parents to see him. Zeffirelli then uses a close-up of Romeos face which shows the audience how young he is as he has a heart-shaped face and looks small and gentle. He also fits the stereotype of Italians with his dark hair, dark eyes and olive complexion but in the Luhrmann adaptation Leonardo DiCaprio does not fit this stereotype at all as he is blond with fair skin. This shows how Zeffirelli was keen to keep his version a traditional one whereas Luhrmann wasnt. Zeffirelli also suggests that Romeo is defensive as when he is with Benvolio he crosses his arms and says is the day so young which implies that he is in a world of his own and enjoying the fact that he is miserable. Then Romeo is shut out from the injured man because the door is slammed in his face. This is a reminder of the feud between the two families and after his event, Romeo flounces off which suggests he no longer wants to be a part of it. The way in which Luhrmann introduces the character of Romeo is quite similar to the way in which Zeffirelli did it. As in Zeffirelli, when the camera switches to the first shot of Romeo the background music becomes slow and dreamy and Romeo is alone, framed in the cliff on a beach. Romeo is sitting with his back to the city which is symbolic as it shows he does not want anything to do with the feud and he is looking out to sea which immediately suggests that he has depth and is not shallow like the other lads. Then Luhrmann zooms in on Romeos face but uses very soft focus so this gives the impression that Romeo is gentle and romantic but not aggressive and violent like the other lads he is friends with. The camera then zooms back out and shows that Romeo is dresses like a business man but casually as he has his top button open. He is writing and speaking the words as he writes them these are actually his lines but as he is writing it looks like he is writing the play which makes him seem romantic. As in Zeffirelli, when Romeo sees his parents he suddenly looks annoyed or uncomfortable but different to Zeffirellis version, he does not fit the Italian stereotype as he is blond and pale-skinned. However, the Romeo presented in this film of the play is also bored with the feud and fighting which is the same in Zeffirelli so Luhrmann did try to keep some authenticity but not as much as Zeffirelli did. I will now look at the introduction of Juliet in both the Zeffirelli and the Luhrmann dramatisations of the play. In the Zeffirelli version there is a scene before we see Juliet in which Paris has come to ask her father for Juliets hand in marriage and her father accepts but asks Paris if he could wait a year or so, so that she would be a little older as she is only 13. This prepares the audience for the fact that Juliet is going to be so young and vulnerable even before they get to see her. This scene does not take place in the Luhrmann adaptation. When the camera first switches to Juliet the music becomes very light-hearted and seems to be skipping along so this stresses Juliets youth. Juliet is laughing and playing with the nurse which shows how childlike she is compared to Romeo. She then appears at a window which she is framed in so that she looks like a Renaissance painting as she is very elaborately dressed and heavily made-up. There is then a close-up of her face which shows her to be very young, have a heart-shaped face and be very demure, innocent and wide-eyed which again stresses her youth. She also fits the Italian stereotype perfectly and looks even younger than Romeo did as her hair frames her face as well as the window framing her. She is wearing a red dress which is very bright and rich but also symbolises romance, blood, passion and danger and so stands out when she attends the ball later in the film. Juliet is then called for by the nurse who says her mother wants to see her and immediately, Juliet straightens her hair and dress and runs off in her mothers direction. This shows she is still very obedient and only cares about doing what her mother wants her to do. She is a contrast to Romeo in this scene as she is in a family home, skipping and laughing but Romeo is moping around by himself so this implies that Juliet is still a child without any thoughts of romance or marriage but that Romeo is older and more mature. When Juliet arrives at her mothers chamber the mother sends the nurse out of the room and Juliet looks puzzled and uncomfortable without her presence. This shows that she is actually closer to the nurse than her own mother which the audience will find sad. The audience know that her mother wants to talk to her about her marriage to Paris but Juliet doesnt and seems to be worried when she is wondering why she as been sent for as she bites her lip. When her mother asks her if she will marry Paris, Juliet says she will but she only seems to be saying so because she knows her mother would be angry if she refused. This shows that Juliets mother is very controlling of her daughter, even if she hardly ever talks to or does anything with her. In the Luhrmann adaptation the first shot of Juliet is a close-up of her face. She doesnt match the Italian stereotype and seems to be much older than the character from the play really was. As in Zeffirelli, Juliet is very wide-eyed and her face is framed with her hair but she is not heavily made-up as Juliet in Zeffirelli was. She then plunges her head into the water which symbolises freshness and nature which in turn symbolise her youth. She is dressed in white which is different to Zeffirelli and this symbolises purity and nature. When the nurse calls for Juliet, Juliet is still obedient as in Zeffirellis version but she doesnt seem as respectful to her mother she has a teenage look on her face as if to say oh, not my mother again which is one of the things Luhrmann has updated. When she reaches her mothers room Juliet looks impatient when waiting for her to talk as if she thinks she has better things to do than listen to her mother but she did not do this in Zeffirelli. This has, again, been updated to appeal to the audiences of 1997. Then, her mother shows her a photograph of Paris and Juliet looks puzzled at fist but then she says the same lines as she did in Zeffirelli which shows she is still obedient, if not as respectful. After her mother leaves the room, Juliet looks thoughtful as if it is beginning to dawn on her that a marriage has been arranged for her and this is much faster than in Zeffirelli the whole play takes place over a few days in the Luhrmann film but in Zeffirelli it is much slower. In conclusion, I think that both films were successful in introducing the characters of Romeo and Juliet but that Zeffirelli kept to his traditional aims in doing it and Luhrmann used a more modern approach.

Media Meanings Essay Example | Topics and Well Written Essays - 1000 words

Media Meanings - Essay Example Whether we care to admit it or not, there is a great deal of truth behind the statement that we are what the media tells us we are. â€Å"Much of what we share, and what we know, and even what we treasure, is carried to us each second in a plasma of electrons, pixels and ink, underwritten by multinational advertising agencies dedicated to attracting our attention for entirely nonaltruistic reasons† (Twitchell 468). This is achieved to great extent through the process of semiotics. Essentially, ‘semiotics’ is a term used to indicate the process of sign analysis in a given culture for indications of meaning at varying levels. â€Å"Semiology therefore aims to take in any system of signs, whatever their substance and limits; images, gestures, musical sounds, objects, and the complex associations of all these, which form the content of ritual, convention or public entertainment: these constitute, if not languages, at least systems of signification† (Barthes, 19 64). Thus, it refers to any combination of contextual clues, such as language, image, color, shape, expression or placement, that are combined together in order to communicate a specific sense of meaning to a particular cultural group. Understanding the language of semiotics and myth, advertisements such as Intel’s advertisement for its Duo Core 2 processor can be analyzed for their more subtle communicative effects. Primary elements included in any discussion of semiotics include signifiers, signified and sign. The sign is the end product created through the combined forces of the signifier and the signified. The signifier can be described as â€Å"the form which the sign takes† (Chandler, 2006). This is different from the signified, which refers to â€Å"the concept it [the signifier] represents† (Chandler, 2006). Basically, the signifier is the most basic idea – the physical presence of a flower. The

Branding and Marketing of Kooler Refresh Essay Example | Topics and Well Written Essays - 1750 words

Branding and Marketing of Kooler Refresh - Essay Example This paper analyzes the branding concept in relation to the launch of a new product and is realized in the development of a soft drink. The product under consideration is Kooler Refresh that is meant to be a competitive drink against the existing products within the U.S. market. With the desire for the market to experiment on newly developed products, Kooler Refresh has been advanced to compete against the established products like Coca-cola and Pepsi that dominate the market share. Brand Positioning Kooler Refresh is a new product to be launched within the U.S. market under the soft drink category to counter the development of a dominant market share by existence products. The product has been based on the need to deliver affordable brand with familiar flavor and quality as compared to the existing brands. The product also seeks to target a defined demographic with the contents within the brand promising added incentive to the consumer. Why Kooler Refresh The soft drink is produced based on the natural fruits as the sole ingredient with the only additive being sugar and glucose. The component comes in variable flavors with the tropical mango, orange and strawberry expected to dominate sales. The new brand targets the demographic that requires valuable taste, health and energy. The target is included in energetic youth and elderly individuals who present the need in delivering satisfactory consumption rate. The product had also been launched based on the principle of affordability after conducting research on the three leading flavors on the demographic. This had been done in three local schools that offered preference to the brand as compared to the other competitors. The leading brands within the market have been in Coca-Cola with Pepsi taking the second position. These brands have utilized the concept of endorsement from celebrity and leading functions in marketing the product. The other paramount position had been realized in the period applied by their mar keters to gain the market share. These brands minimize the prevalence of a new product through promotional campaign and the preference of the customers on a familiar taste of brand. These have been most dominant propositions with customers failing to purchase alternative products at lower products for the recognized brands (Gelder, 2005). However, Kooler Refresh is planning to take advantage of the current market trend. With the catchy phrase that is based on the marketing campaign to promote the healthy product, the competition would be sustained with the realization of the harmful carbonated drinks. The brand targets majority of the customers to be the youth and young energetic children. These are the target that requires added flavor to the drink with positive implications to developing their health. The company also wishes to maximize on generating profit through investing on affordable prices on the established quantities. Kooler Refresh not only rejuvenates the health presenta tion, but also presents a quality taste to be linked to the natural fruit composition that lacks in the competitors drink Moreover, the packaging would be in recyclable material with a uniquely designed ? liter bottle to be used for extended purposes like holding water. Brand Concept The proposed applied strategy to achieve the market position had been in the development of an outstanding brand name. Kooler Refresh is a name that does not share similarity to any other soft drink product in the

King Lear Shakespeares Essay Example for Free

King Lear Shakespeares Essay Dylan Thomass Do not go gentle into that good night was influenced by William Butler Yeatss Lapis Lazuli and William Shakespeares King Lear but the villanelle bears a stronger resemblance to Shakespeares play. The attitudes toward how an individual lives in the face of impending death, explored by Thomas, are similarly examined with the portrayal of Gloucester and Lear. Dylan Thomass Do not go gentle into that good night has been noted to bear the influence of and even echo W. B. Yeats, especially Lapis Luzuli, and, secondarily via this poem, Shakespeares King Lear. One scholar notes its Yeatsian overtones (Fraser 51); another judges Thomass villanelle to have much of the concentrated fury of expression which the poetry of the older Yeats contained, but more tenderness and sympathy (Stanford 117), and goes on to say. , citing Lapis Lazuli, that Yeats described the poet as one who knows that `Hamlet and Lear are gay' (118). William York Tindall cites not only Lapis Lazuli but also Yeatss The Choice as sources (204). Another scholar seems to skip over Yeats entirely (though his own phrasing echoes line 1 of Lapis Lazuli), seeing the Grave men/blind tercet (which contains the injunction to be gay) as perhaps invok[ing] the Miltonic (Tindall also mentions Milton 205) and the effect of the phrase be gay as rather hysterical sentimentality (Holbrook, Dissociation 53); of the earlier Wise men/lightning verse, however, he says The images are merely there, histrionically, to bring in the phrase `forked no lightning to give a Lear-like grandeur to the dirge (52). I would like to propose that Do not go gentle into that good night bears a much stronger and more direct connection to Shakespeares play than is suggested by references to Yeats or to Lear-like grandeur. I would like to propose that the attitudes towards deathor, more precisely, the attitudes towards how one lives in the face of impending deaththat Thomas explores in this poemthe implied attitude his speaker attributes to his direct audience, and the one he urges be adopted in its placeare similarly explored in King Lear and dramatized in the characters of Gloucester and Lear. I also propose that the voice we hear in Do not go gentle may not be a directly lyric speaker but an obliquely drawn persona, that of Gloucesters son Edgar. Further, when read in the shadow cast by King Lear, the tone of Thomass poem grows dark indeed. Do not go gentle into that good night is addressed to Thomass father, David John, known as D. J. According to biographer Paul Ferris, D. J. was an unhappy man a man with regrets (27); born with brains and literary talent, his ambition was to be a man of letters, but he was never able to advance beyond being a sardonic provincial schoolmaster in South Wales, feared for his sharp tongue (26-33). After his first serious illness, thoughcancer in 1933A mellowing is said to have been noticeable soon after; his sarcasm was not so sharp; he was a changed man (104). As he grew more chronically ill in the 40s, mostly from heart disease and with one of the complications being trouble with his sight, the mellowing intensified: As Ferris puts it, It must have been [D. J. s] backbone of angry dignity that his son grieved to see breaking long after, when he wrote `Do not go gentle into that good night' (27), and the poem is an exhortation to his father, a plea for him to die with anger, not humility (259). The poem was first published in November, 1951, in Princess Caetanis Botteghe Oscure, on consecutive pages with Lament, a dramatic monologue spoken by an old man on his deathbed who recalls his rollicking youth and middle-age spent in the pursuit (and capture) of wine, women, and song, but who has married at last in order to obtain a caretaker, and must suffer pious comforting in his final, helpless days. (Bibliographic evidence suggests the two were also composed, or at least finalized, more or less simultaneously; Kidder 188.) In the letter to Caetani that contained Do not go gentle, Thomas remarked that this little one might well be printed with [Lament] as a contrast (qtd. in Kidder 188). As Ferris suggests, it would be difficult to over-estimate D. J. s influence on his son: . . . the pattern of [Dylans] life was in some measure a response to D. J. Thomas and his wishes. For the early books that Dylan Thomas read, the rhythms he absorbed, and probably for his obsession with the magic of the poets function, he was indebted to D. J. (283). Prominent among those early books read by Thomas are the works of Shakespeare. In 1948 (and Thomas might have begun his, as usual, protracted drafting and revision of Do not go gentle in 1945, after D. J. suffered a nearly fatal illness; Tindall 204), Thomas wrote a journalist that D. J. s reading aloud of Shakespeare seemed to me, and to nearly every other boy in the school, very grand indeed; all the boys who were with me at school, and who have spoken to me since, agree that it was his reading that made them, for the first time, see that there was, after all, something in Shakespeare and all his poetry. . . (qtd. in Ferris 33; his ellipses). That Thomas was familiar with and admiring of Shakespeare is, of course, no surprise, but his direct linkage of his father with Shakespeare, particularly at this point in time, is interesting, and he demonstrated more than familiarity with King Lear: In 1950, during one of his reading tours in America, he spent an evening with novelist Peter de Vries (who would later use Thomas as the basis for the poet Gowan McGland in Reuben, Reuben) and, among other conversational gambits, declaimed some Lear (de Vries, qtd. in Ferris 233). That he was equally well-immersed in Yeats is verified by the fact that poems by Yeats were among those he performed on his 1950 tour of

Around The World In 80 Days :: essays research papers

Type of Literary Work   Ã‚  Ã‚  Ã‚  Ã‚  This sensational novel is an adventure novel consisting of an enterprising Englishman touring the globe. Woven within are historical facts, such as the British Empire and colonies around the globe, as well as historically accurate locations. Theme   Ã‚  Ã‚  Ã‚  Ã‚  The theme of this breathtaking novel is one of daring and persistence. On the whim of a wager, Fogg is sent around the world in the impossible time span of eighty days. Throughout the work, Fogg’s limitless persistence, entwined with his stereotypical English composure, astound the reader.   Ã‚  Ã‚  Ã‚  Ã‚  Fogg represents this boundless daring in the audacious wager he makes. He has promised his arrival back in London in eighty days, regardless of the wilderness, delay, or other problems that may arise on his journey. The reader is, perhaps, driven to the conclusion that Fogg is a madman, who takes lightly to large sums of money. This is not so, as Fogg (although the wager seems unfeasible) is a reserved man, calm and collected at all times atop the punctuality Verne expresses within him in just the first chapters.   Ã‚  Ã‚  Ã‚  Ã‚  Verne expresses the stereotypical Englishmen, the seeker of adventure, popular in his time. Almost jokingly does Verne come to this conclusion, he being a Frenchman, in which all Englishmen will go to the corners of the Earth to find an area to â€Å"Europeanize†, find a wild beast to market from, or a project to throw their pounds at.   Ã‚  Ã‚  Ã‚  Ã‚  Fogg’s endless persistence, is further shown in his composure while great delays push him back, tragedies occur around him, and loved ones are lost repeatedly. His endless hope was a flood during a great drought within the circumstances he was found in. Train delays were compensated through elephant purchases, steamer delays through chartering yachts, stubborn foreigners subdued through a handful of bank notes – even the weather seemed to fall before Fogg. His devotion to his ultimate goal, not that of the money but of the accomplishment, was infinitely expressed throughout the work. Setting   Ã‚  Ã‚  Ã‚  Ã‚  The setting for this novel was a constantly shifting one. Taking place during what seems to be the Late Industrial Revolution and the high of the British Empire, the era is portrayed amongst influential Englishmen, the value of the pound, the presence of steamers, railroads, ferries, and a European globe. The novel begins in London, but quickly changes eastward, from Paris, to Suez, Bombay, Calcutta, Singapore, Yokohama, San Francisco, Omaha, New York, Queenstown, Liverpool, and back to London – a complete circumnavigation around the glove condensed into two hundred-odd pages.

Why Significant Changes Were Made to the Plot

Why Significant Changes Were Made to the Plot in The Big Sleep Movie After reading the novel â€Å"The Big Sleep† by Raymond Chandler, then watching the 1946 movie version starring Humphrey Bogart and Lauren Bacall, I found myself asking why are there so many changes to the plot in this movie as compared to the novel. Many significant pieces of the plot were drastically different and there were even certain scenes that had been made up for the movie that were never in the book. After doing some research I was able to come up with many reasons for these significant changes.Some of the main reasons for there being significant changes is the Hays Code which was a code of rules that all movies were to follow, as well as the chemistry that Humphrey Bogart and Lauren Bacall had together. Many of the changes in the movie version of â€Å"The Big Sleep† can be credited to the Hays Code. The Hays Code was a set of rules that movies were to follow. Will H. Hays was not the creato r of this code however he was the first person to be in charge of enforcing it therefore his name became attached to it (TV Tropes).Some smaller changes the Hays Code affected are the dealings that go on at Geiger's Book Store as well as Geiger's love interest. In the novel we are told that the book store is actually a front for a pornography store. We are also told in the novel that Arthur Geiger is gay and has a male partner. In the Hays Code it is stated that â€Å"The sanctity of the institution of marriage and the home shall be upheld. Pictures shall not infer that low forms of sex relationship are the accepted or common thing. (Arts Reformation). Given this the writers of the screenplay were forced to leave out the fact that the book store was actually a front for a pornographic store. As for the fact that Arthur Geiger was gay and had a male partner, it is stated in the Hays Code that â€Å"Sex perversion or any inference to it is forbidden. † (Arts Reformation). Alth ough a homosexual couple is more widely accepted nowadays, back in the time of the Hays Code it was considered perverse (TV Tropes) and had to be taken out of the movie.Two more significant changes that were made to the plot were both of the scenes where Carmen Sternwood was found naked. In the novel when Marlowe goes to Geiger's house he finds Carmen naked in a chair and drugged up. In the movie she has only been drugged, her clothes remain on. The other time that Carmen Sternwood was found naked in the novel was when she was waiting for Marlowe to come home and she was naked in his bed. In the film she is simply sitting in his room waiting for him fully clothed.Both of these changes can be attributed to the Hays Code. A rule in the Hays Code states â€Å"Complete nudity is never permitted. This includes nudity in fact or in silhouette, or any lecherous or licentious notice thereof by other characters in the picture. † (Arts Reformation). Since the filmmakers were not allowe d to show nudity they were forced to change the plot which also lead to the photos of Carmen Sternwood that were used to blackmail her not being nude photos of her. A huge change that is made to the plot of the story is how the movie ends.In the book the climactic scene is where Marlowe is being held at gunpoint by Carmen Sternwood. This is also where Marlowe realizes that Carmen was the murderer. A rule about crime in Hays Code states â€Å"Crimes against the law: These shall never be presented in such a way as to throw sympathy with the crime as against law and justice or to inspire others with a desire for imitation. † (Arts Reformation). If Carmen Sternwood had been the murderer then this would have made Marlowe's love interest, Vivian Rutledge, an accessory to murder (Wikipedia).If Vivian were an accessory to murder she would be committing a crime but the audience may feel sympathy for her since she is in love with the main character. Because of this the writers of the s creenplay had to change this. By changing the ending of the movie to having Eddie Mars be killed the writers also solve another conflict with the Hays Code. In the novel Eddie Mars does not actually kill anyone however he was the one who made the murders happen so he was in fact a very bad man who had committed serious crimes.At the end of the novel Eddie Mars does not come to justice for his crimes. Since the Hays Codes doesn't allow crime to be presented in a way that it will inspire others with a desire for imitation (Arts Reformation), Eddie Mars had to be brought to justice. If people had seen the movie and saw that Eddie Mars had been a murderer and gotten away with it, it could inspire them to imitate him. This is why the writers had to change what happens to Eddie Mars.A very significant change made to the plot, which is more of an addition to the plot than anything is the fact that Marlowe and Vivian Rutledge have a love interest. In the film Marlowe lets the reader know ma ny times that he is not fond of women. Because of this love interest many scenes were added to the film in which Marlowe and Vivian have conversations of the sexual nature. Before â€Å"The Big Sleep† movie was made both Humphrey Bogart and Lauren Bacall had starred in a movie called â€Å"To Have and Have Not†.This film had a great success with their scenes together and this made the filmmakers want to add more scenes between the two (William Ahearn). When it comes down to it, making Marlowe and Bacall have a relationship is just adding a Hollywood perspective on a novel. Many changes were made to the plot in â€Å"The Big Sleep† film. But none of them were made without reason. The Hays Code limited filmmakers to what they could put into movies and changes were made so that the film would be more appealing to the general public.Works Cited – Ahearn, William. â€Å"The Big Sleep (1946)† 2008. November 2012. http://www. williamahearn. com/bs1945. ht ml – â€Å"The Motion Picture Production Code of 1930 (Hays Code)†. Arts Reformation. April 2006. November 2012. http://www. artsreformation. com/a001/hays-code. html – â€Å"The Big Sleep (1946 Film)†. Wikipedia. November 15 2012. November 23 2012. http://en. wikipedia. org/wiki/The_Big_Sleep_(1946_film)#Cast -â€Å"Hays Code†. TV Tropes. November 2012. http://tvtropes. org/pmwiki/pmwiki. php/Main/HaysCode

As A Society, We Are Being Continuously Taught Not To Stray

As a society, we are being continuously taught not to stray too far from tradition and from what previous generations have proven to follow. This insinuates the idea that we, as individuals, should follow tradition that includes stereotypical gender roles that existed. Throughout Euripides’ Medea, the audience and readers are shown the consequences that said gender roles create. They are a part of history that may never be overcome, as developed in the play. Gender roles may never be overcome in society, nevertheless it is important to remember that they do not define a person, let alone decide their fortune. Equality should not be perceived as an opinion, but as a right. By performing a feminist reading of Medea, it is evident that the†¦show more content†¦He tells Socrates that his wife came to him at fifteen, already knowing how to spin yarn, sew clothes, and cook. This shows that these were the sole expectations of women; they were not supposed to be smart or be able to work. Medea always does what she thinks is correct, which is a good mindset to have as it shows true independence. Through showing this quality in Medea, Euripides reinforces this quality that many people should possess. Euripides develops the idea that no matter what gender a person is, they can still be the protagonist of their own story and be confident in their decisions. This may have been slightly extreme on Medea’s part as it made her inevitably sad, although, she proved herself as slightly more â€Å"masculine†, as she did not exhibit the typical â€Å"feminine† hysteria. Even though she got her vengeance on Jason and did so independently, she still lost the most important thing in her life, her children. In some ways, Medea ultimately became the only person controlling her own destiny because she had reached her goal of getting vengeance, or in her own twisted sense, justice on Jason for what he did to her. â€Å"What point is there in living anymore?†(Euripides line 169), questions Medea, showing how much pain she was in, as well as the possibility that she feels as though she must be with a man to survive. This thinking creates the idea that to beShow MoreRelate dThe King of the Savannah is Becoming Extinct951 Words   |  4 PagesLions of certain ages help ensure that the African lion can continue breeding. There are so many different options but there are the fantastic three that have the best chance of saving these majestic creatures of the Sahara. Instead of small fences, we can start raising money to create a large reserve so that the lions can roam freely and comfortably as they please to. The African Lions would be far away from any harmful human contact. 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