An analysis of the new rendition of william shakespeares romeo and juliet

Twentieth Century Fox, Firstly, I will lay down a necessary if short overview of the definitions of parody.

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They introduce a transgression of elements from different periods and cultures for the sake of play and not in order to criticize. He uses pastiche from other Shakespeare productions on Posters e. Notably, the whole act may be considered parody according to the postmodern concept introduced by Hutcheon, but the Gas Station Sequence displays more variables of postmodern parody than the rest of the act. Her research interests include corporeality, gender, minorities, women writers and creative writing. What if we dealt with it like a spaghetti western? Oxford University Press, September The grudge between Montagues and Capulets goes back many years ago and Shakespeare hints it to being on religious grounds. Fine in Shakespeare - low comedy and then you die in five minutes. The film displays self-conscious, self-contradictory statements through historical representations lifted out of their initial context and placed in a pop-inspired reality along with cultural allusions to a variety of periods, and transient film genres, elements that constitute a postmodern art endeavor fitting within the definition of postmodernism developed by postmodern philosophers such as Linda Hutcheon. Diana E. A part of the controversy, I will briefly observe, is the question of what constitutes an original text, what is the meaning of integrity in relation to adaptation of historical texts, and whether postmodern parody can be seen seriously.

Luhrmann uses this technique so it is easier for the audience to understand the association of the heat and anger. You get close ups and you get the language vernacular of that.

Romeo and juliet summary

In this scene Shakespeare builds up tension by setting the scene on Verona streets on a hot afternoon. Or is it in fact conservative, a humorous finally self-consuming demonstration of the folly of popularizing Shakespeare? The type of music and language adaptation makes a difference to Act 3 Scene 1. Firstly, I will lay down a necessary if short overview of the definitions of parody. The extreme speed, loud sounds, and high colors, and the pop-style characters contradict in such a degree the traditional treatment of the play and the poetic language, they hint at an over-ecstatic play with pop symbols and, simultaneously, show the weakening centers of power of the past. The film displays self-conscious, self-contradictory statements through historical representations lifted out of their initial context and placed in a pop-inspired reality along with cultural allusions to a variety of periods, and transient film genres, elements that constitute a postmodern art endeavor fitting within the definition of postmodernism developed by postmodern philosophers such as Linda Hutcheon. A part of the controversy, I will briefly observe, is the question of what constitutes an original text, what is the meaning of integrity in relation to adaptation of historical texts, and whether postmodern parody can be seen seriously. The fight itself is impossible: a pastiche of all the devices of acting and editing we expect from such scenes: the echoing ricochet bullet, the instant over-the-shoulder shooting, the commando roll, the innocent bystanders who get in the way but narrowly escape to safety, the slam-zoom extreme close-ups, the slow tracking of an opponent viewed through the cross-bars of the telescopic sight. However, it does not contain a genre transgression, or rather a cross-reference between genres, the way the Gas Station Sequence does. You get close ups and you get the language vernacular of that. More irony is directed toward historical representations of the religious order, set so far from their original context they are exposed in their outdated doctrine. A series of close ups shows the tense facial expressions of boys from both groups, followed by shots of a rearview mirror, and of Sampson biting his thumb. We're trying to make this movie rambunctious, sexy, violent and entertaining the way Shakespeare might have if he had been a filmmaker. He has made Act 3 Scene 1 very fast moving and interesting but keeps the violence to a limit.

The TV sequence, for instance, parades a large range of pop allusions that result in a comic effect. This is used because silence and movement and create more tension than the words because of the close-up.

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With this goal in mind, the director sets out to surprise and hook the viewers with choices taken from their own culture. Twentieth Century Fox Traditional elements are questioned as they appear against a backdrop of current symbols and dynamics. The question whether parody may have an impact is introduced by Lanier as well. The truck turns sharply, screeching, into a busy driveway of a gas station, where the camera closes on the boasting Gregory and Sampson, and the disgusted Benvolio, who is driving the approaching sedan. Parody acts through irony and provocation, without disqualifying completely its cultural references. This is used because silence and movement and create more tension than the words because of the close-up. Butcher, Greece: B. Were we to heed the implications of such a model, we might have to reconsider the operations by which we both create and give meaning to our culture through representation. The embedded self-irony, and the somewhat self-congratulatory wink in the sequence can be taken as elements of play. In reply to Jameson, Hutcheon distinguishes between parody and pastiche, and argues that the duplicity of politics of authorized transgression, necessary in parody, remains intact.

The question whether parody may have an impact is introduced by Lanier as well. What if we dealt with it like a spaghetti western?

romeo and juliet critical analysis pdf

It introduces a provocative response to the traditional values accompanying canonical plays and their traditionally rigid production. Fundamentally, imitation has remained the common element in parody from B. The sedan reverses in full speed and blocks the truck, as a panicked mother and her children scurry away.

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This question of accessibility is undeniably part of the politics of postmodern representation.

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Parody and the Gas Station Sequence in William Shakespeare's Romeo and Juliet