Analysing Film Adaptations of Shakespeares Macbeth

Analysing Film Adaptations of Shakespeares Macbeth In Roger Manvells Book Peter Hall is quoted as saying â€Å"Shakespeare is no screen writer. He is a verbal dramatist, relying on the associative and metaphorical power of words†¦Even his stage action is verbalised†¦ This is bad screen writing. A good film script relies on contrasting verbal images. What is spoken is of secondary importance.† (Manvell, 1971, p.125) It is certainly true that screenwriting and playwriting are two very separate arts, as is the discipline of acting in the two arenas. A screen actor has the advantage of the camera being able to pick out subtle facial expressions and body movements that will illustrate the characters emotion without the need for dialogue. A stage player must project his or her voice across the expanse of a theatre and cannot rely on the audience members at the back of a theatre being able to witness all the subtleties of their body movement. As such much more needs to be spoken. On the screen expositionary dialogue is redundant and detrimental to the narrative drive. However Shakespeare infuses all his dialogue with rich textual imagery and double meanings. In translating this to the screen some of it is unavoidably lost. This essay will explore the aforementioned contention with reference to three adaptations of Shakespeares Macbeth. It aims to show that although it is very difficult to adapt Shakespeares poetry faithfully it is not impossible. The version of principle discussion will be the 1948 version that was directed by and starred Orson Welles, as well as the 1971 Roman Polanski directed version starring Jon Finch and the 1957 Japanese retelling by Akira Kurosawa, Kumonosu jà ´ (Throne Of Blood.) The opening scene of Macbeth is extremely short yet extremely effective in establishing an atmosphere of mystery and the imagery of light and dark as an analogy of good and evil that runs throughout the course of the play. It opens to the sound of thunder and lighting. The turbulent and dark nature of the weather serves as an apt environment for the turbulent and dark events that unfold and effectively serving to set the tone of the play and the imagery of stormy weather that is used as pathetic falla cy throughout the play. The witches mention a battle and Macbeth but their involvement in these maters is not clear; but what is clear is the atmosphere of mystery that is established. They converse in verse with rhyming couplets and all chant the same couplet at the end of the scene as if they were casting a spell. Fair is foul and foul is fair Hover through the fog and filthy air. (Act I Scene I) The internal rhyme and inversion of values of good and bad warns the audience that something is amiss and is echoed in Macbeths opening line of the play, So foul and fair a day I have not seen (Act I Scene III) The verbal resonance of this line associates Macbeth with the will of the witches and foreshadows his entanglement with the forces of diabolism. The filmic versions of the play also stem their predominant imagery from this opening scene. The opening scene of Welles Macbeth shows the three Witches standing on the edge of a tall jagged rock face. The barren landscape is dark and shadowy and mist swirls in the dark night sky. The production design is minimalist and actually resembles a theatre set rather than a filmic one. It recalls the visual style of German expressionism, which has a tradition within the horror genre. This design continues throughout the film. The lighting and the black and white photography have been composed to cast eerie shadows over the sets and faces of the players, perfectly visualizing the light and dark imagery in Shakespeares text. The film actually opens with lines from Act IV Scene I. Double, double toil and trouble Fire burn and cauldron bubble. The film then cuts to a close shot of the cauldron mouth as the witches mix a potion and continue to chant Shakespeares words as if casting a spell. From the cauldron a clay doll is formed and as it is fully formed the word Macbeth is spoken as the films title appears on the screen. Although tonally much of what Shakespeare had written is retained within the visual style of the film, in this version of the scene the emphasis on the witches is changed from agents of diabolism to enforcers of it. Lady Macbeths soliloquy of Act I Scene V bares none of the visual flair that Welles opening scene does. To momentarily go back to the source material this is the scene where she has just been informed in a letter from her husband about the fulfilment of the witches first prophecy. Her immediate concern is that her husband does not have the necessary character to murder Duncan for the crown. I fear thy nature, It is too full of the milk of human kindness To catch the nearest way (Act I Scene V) Her conceit is interesting as it is clear in the play that Macbeth struggles a little with his conscience he is quite easily persuaded to commit murder. She also calls to the spirits to Come to my womans breasts, and take my milk for gall. (Act I scene V) The inference here is that she wants to replace Macbeths milk of human kindness with her own diabolically polluted milk. She allys herself with the forces of evil in order to give her the strength of purpose to kill Duncan. Her words are about her adopting evil into her own nature and becoming one with the malevolent forces. †¦Come you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty†¦ †¦Come thick night And pall thee in the dunnest smoke of hell. (Act I Scene V) The line from to the crown to the toe is at once a statement that she wishes to become engulfed with evil and a reference to the royal crown. The soliloquy also includes the images of dark ness associated with evil. The words unsex me here recall Banquos comments on the ambiguous sexuality of the three witches. You should be women Yet your beards forbid me to interpret That you are so. (Act I Scene III) In the play the scene establishes Lady Macbeths ambition for her husband as another factor in his downfall by associating her with imagery of diabolism. The majority of the scene in Welles film is played out in a medium shot of Lady Macbeth in a bare bedchamber whilst the soliloquy is delivered in voice over. Jeanette Nolans deliver of the lines is extremely theatrical in tone and the back drop is unusually expressionless. The scene looks and plays as if it has been recorded at a theatre performance As such the scene is visually static and the power of Shakespeares words carry the scene as opposed to any cinematic elements. Polanski dilutes the immediacy of Lady Macbeths turn to evil by having her deliver the first part of the soliloquy before Macbeths return to the castle and then the second part, where she calls upon evil spirits, after Malcolm is named successor and it is clear that murder is the only way for Macbeth to ascend the throne. Although this changes emphasis, like Nolan s performance Francesca Annis delivers the soliloquy in voice over and a theatrical tone. Whilst Shakespeares words and imagery are retained there is nothing cinematic about the scene itself Act I Scene VII suggests that Lady Macbeth was right about her husbands willingness to perform the act of murder. In a soliloquy Macbeth talks himself out of the deed; he reasons to himself that it is evil and that he does not have the necessary character. †¦I have No spur To prick the sides of my intent, but only Vaulting ambition, which oerleaps itself. (Act 1 Scene 7) Macbeth effectively talks himself out of the deed by considering the ramifications of killing Duncan. He employs imagery of heaven to illustrate Duncans virtue and the legitimate claim to the throne. ,Or heavens cherubin horsd Upon the slightest couriers of the air, Shall blow the horrid deed in every eye That tears shall blow down the wind. (Act I scene VII) In Welles film this same speech in the film is relocated to a religious ceremony that precedes the battle. Orson Welless creation Holy Father reads through a post battle service. In the background there are men holding huge Celtic crosses. This symbol of early Christianity illustrates an uneasy balance between Christian ethics and pagan mysticism. Again the expressionist set retains the constant presence of the forces of evil; the religious context of the scene emphasizes the conflict with the diabolical influence. We are allowed inside Macbeths mind as he rationalizes what he is planning on doing and the evil nature of it, but the I have no spur passage has been omitted. The scene plays out in a close shot of Macbeths face which remains resolute. There is no suggestion of a moral struggle in Welles delivery, merely an acknowledgement of the immorality of his intentions. However on the Heaven cherubin horsd line there is a cut to a wider shot of Duncans subjects genuflecting before him. This reinforces the notion of Duncan as the model ideal for king. The Polanski version of the scene is fantastically captured on screen. Once again we hear Macbeths thoughts in voice over, this time in the full original text. The scene starts with a close shot of Macbeths pensive face, then tracks backwards to reveal the festivity and frivolity of all the others at the feast. This reiterates Macbeths position as Duncans kinsman and host, whilst placing Duncan within the context of a happy and prosperous kingdom. On delivery of the line weld jump the life to come, there is a roll of thunder and the curtains are violently blown into the hall disrupting the festivities as if to disturb Macbeths train of thought. This scene at once retains Shakespeares poetry and accompanies it visually in cinematic terms. The final soliloquy of the play comes in Act V Scene V after Macbeths learning of his wifes demise. In is a dramatic pause before the arrival of Birnam wood to Dunsinane to allow Macbeth to mourn for his dead wife and contemplate his actions. Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; (Act V Scene V) The repetition of the word tomorrow gives verbal resonance to a sense of inevitability of Macbeths death and the inevitability of death as a universal truth. The word creep also has connotations of the subterfuge of malignant forces. Macbeth sees that he is backed into a corner and that his plans have been his own undoing . Lifes but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. (Act V Scene V) The walking shadow that Macbeth speaks of hear exists between light and dark and is also an intangible and temporary thing. The reference to acting suggests that Macbeth feels as if he has been directed by some unknowable source, and the words sound a fury recall the lightning storm that heralded the arrival of the witches. This soliloquy is rich and full with imagery and perfectly captures the mind of a man whose purpose has left him. After this point in the play all Macbeth has is an instinct of self-preservation. In Welles film the scene is at once strikingly visual and completely verbal. Although the two sets of imagery do not properly resonate. A close up of Macbeths face is cross faded with an image of swirling mist as the soliloquy is started then delivered in full by Orson Welles in voice over. The association between Macbeths face and the fade places the viewer firmly within Macbeths mind and indicates that we are privy to his innermost thoughts. The fact that there is very little to look at gives added gravitas to Macbeths words and makes the viewer reflect upon them more. The imagery evokes a sense of inner-turmoil that reflects the mind of a man who has been corrupted by power and stricken with grief. However it evokes other thematic and narrative elements such as a sense of mystery that recalls the witches, a sense of foreshadowing that herald on the stage. In this scene the verbal essence of the play is completely retained by the visuals of the film. The end of the play restores a natural order to the kingdom of Scotland. Malcolm ascends to his rightful place on the throne. He is given a rhetorical speech in rhyming verse which serves as epilogue to the play. And what needful else That calls upon us, by the grace of Grace, We will perform in measure time and place: (Act V Scene VII) Unlike the opening scene were rhyming couplets were used to mimic the casting of spells, in this speech the rhymed words produce a comforting and familiar sound. The phrase measure time and place suggests that the rightful order has been restored and reference to Grace alluding to the grace of god tells us that the forces of evil are no longer at work. The ending of Welles film does not include Malcolms speech. As Macduff holds Macbeths head aloft and proclaims Malcolm king the rest of Malcolms subjects join in and repeat the cry of â€Å"Hail king Malcolm† this continues as the subjects hold aloft burning torches that visually symbolise the light returning to a darkened kingdom. There is then a cut to a wide shot of the castle no longer enshrined in darkness but in the pale morning light. However Welles undercuts any sense of the restoration of order by placing the three witches silhouetted in the middle ground of the shot. Polanskis film goes even further as we see Donalblain seeking out the witches council. He is presumably the next heir until Malcolm has a son and the suggestion is that he too will consult the powers of evil to aide his own bloody ascension. As discussed earlier in the essay, these films place much more emphasis on the external factors that exert their influence over Macbeth. The play itself is more concerned with one mans decision to succumb to evil whilst the films of Orson Welles and Roman Polanski suggest that the force of the witches will is insurmountable. What is clear from the Polanski and Welles versions of the Play is that although both films manage to translate certain passages from the play and retain the verbal essence they are not entirely successful. However they are interpretations of the play as well as adaptations emphasis on theme and narrative has been shifted. By far the most satisfying film version of Macbeth is Akira Kurosawas Throne of Blood. However this version has been relocated to feudal Japan and falls within the context of a different cultural setting. Kurosawa has done the best possible job in translating the text into a foreign context whilst retaining the essential essence of the source material. There is an attempt to retain a sense of the poetic within the dialogue. Kurosawa approximates Shakespearian dialogue with a Japanese equivalent of Noh. At certain key moments of the film the dialogue slips into Noh verse such as the end of the film when a chorus is summarising the story of Washizu (The Macbeth Character.) Lived a proud warrior Murdered by ambition His spirit walking still. Still his spirit walks, his fame is known, For what once was is now yet true Murderous ambition will pursue†¦ This technique is used sparingly throughout the film so as not to seem forced or alienate contemporary audience, but what it does do is infuse the film with Japanese storytelling tradition and give the film an added quality of timelessness. Throne of Blood can also be considered as retaining the best qualities of Welless Macbeth in terms of its expressive production design. Kurosawa has spoken of the use of wide interiors with low ceilings and squat pillars to enclose the interior space and visualise a sense of oppression. This symbolises the forces out of Washizus control that are compelling him along his murderous and treacherous path. The exterior world of the forest is also expressionistic; the tangled treacherous forest is an inhospitable place where the witch and the hostile forces of nature conspire against the will of man. It also reaches out towards Washizus castle that has been made from the resources of the forest and is itself part of the forces of nature. Again the visua l style has been interpreted in such a way to try to capture the essence of the tone of the source material. Like Polanski and Welles, Kurowsawa has interpreted and adapt the play as he saw fit. The significant changes to setting and cultural changes mean that Throne of Blood has been scrutinised, studied and approached as a film in its own right and discussed in its own terms without the direct comparison to Shakespeares exact words. As mentioned at the outset of the essay the arts of screen and play writing are very different and that which has been written for the stage does not necessarily translate to the screen. Critics argue rightly that Shakespeares poetry has been in places mutilated to bring the plays to the screen. However as this essay illustrates; certain passages have been successfully translated into cinematic terms retaining the imagery and the poetry of original play. To say that the verbal essence of a Shakespeare play is essentially non-cinematic is untrue. To say that it is extremely difficult to translate into cinematic terms is entirely fair. Bibliography Anderegg, M.A. Orson Welles, Shakespeare and Popular Culture (New York: Columbia University Press, 1999.) Bazin, A. Orson Welles (London: Elm Tree Books, 1978) Davies, a Filming Shakespeares Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa. (Cambridge: Cambridge University Press, 1988). Davies, A. Wells, S. (Eds) â€Å"Shakespeare and the Moving Image: The plays on Film and Television† (London: Cambridge University Press, 1994.) Jackson, R. (Ed) â€Å"The Cambridge Companion to Shakespeare on Film† (London: Cambridge University Press. 2000) Manvell, R. Theater and Film: A Comparative Study of Two Forms of Dramatic Art (Rutherford: Fairleigh Dickinson University Press, 1979.) Manvell, R. Shakespeare and the Film (London: Dent, 1971) McBride, J. Orson Welles (London: BFI, 1972) Films Kumonosu jà ´ (Dir Akira Kurosawa, 1957 Japan) Macbeth (Dir Orson Welles, 1948, US) Tragedy of Macbeth, The (Dir Roman Polanski, 1971, US/UK)

John Locke helped create Modern Democracy Essay

John Locke was an English philosopher and was considered as the first British Empiricists. His contributions proved great importance to the development of epistemology and political philosophy during those times, and is regarded as the most influential thinker to contribute to the liberal theory of government. As a whole, John Locke’s importance is reflected by the American Declaration of Independence, since men by nature is free and equal, discarding the thought about having a monarch, as everyone is entitled to become a monarch. It was through John Locke’s theories that people’s eyes were opened to the reality, the fact that all of us are born free. John Locke viewed and claimed that men are naturally free and equal, versus the notion that God appointed a monarch to rule over other people. Some of the things that Locke fought for were the people’s basic rights, including the right to life, liberty, and property – these concerns became the basic foundations of laws in any particular society today (Tuckness). Looking closely at the implication of what John Locke has fought for, it is more of establishing a concrete grounding which can be used as basis of other rules and laws that you prepare. In the context of establishing a government, John Locke used the claim that men are naturally free and equal in order to justify the understanding regarding the legitimacy of a political government which is the outcome of a social contract that regards the people as the major stakeholders, and that the government will be established to ensure the stability, comfort and enjoyment of these people’s lives, liberty and property. In short, the government, though privileged to preside over the people, still rests on popular consent, and people are entitled to rebel if they see that the government is subversive of what they stand for – the protection of life, liberty and property (Tuckness). Governments, just like what we have today, exist by the consent of the people under the jurisdiction of that government. Their main purpose according to Locke is to protect these people’s rights, as well as promote public good. In relation to this, those governments who are unable to function accordingly can be resisted by the people and e replace with new governments (Blupete. com). Though nowadays it would surely undergo a very long process to replace a current government, people still have the power to pursue these measures if the need be. Locke advocated majority rule, something which is similar to the current democracy that we have today. Modern democracy as we see today can be greatly associated with what John Locke has helped establish and defended many years ago. The purpose is people empowerment, the realization of the people’s rights and fighting to preserve these rights against violators. This has led to the creation of the democratic government that we have today, and through this type of government, we live a free and equal lives, without oppression from other people, as well as injustice in the things we do. We see the democratic government not only as a ruling body in the society but also a guard that would keep watch of out precious inalienable rights as citizens of this country and as human beings. We have instated a higher ruling body to do a set of purpose, and if it doesn’t, it is our responsibility to tear it down and replace it with the ones which are more appropriate and more deserving of the position. It is not the government that runs the people, but instead, it’s the people that run the government. Works Cited: Blupete. com. â€Å"John Locke (1632-1704):The Philosopher of Freedom†. 2006. April 4 2008. . Tuckness, Alex. â€Å"Locke’s Political Philosophy†. 2005. April 4 2008. .

African American Movie Essay

Out of all the great African-American films out there, I decided to write on a film, which is still considered to be a classic to this day, â€Å"Cooley High. † The film takes place in Chicago, 1964, and centers on a group of lower-class black kids, including Preach, a smart student, and his close friend, Cochise, a great athlete who’s on the verge of getting a scholarship. This film has been compared to be the black version of George Lucas’ â€Å"American Graffiti†; the film has a lot of energy and substance to easily overlook that fact. There are many funny moments, including a scene where the boys joyride with Preach behind the wheel; a scene where the boys cut class and head to the zoo, ending with a hilarious encounter with a gorilla; and a scene where Preach hides from some hoodlums in an bathroom that is occupied. There’s also romance in the film, as Preach attempts to woo classy beauty Brenda; the two even lose their virginity together in a truly tasteful scene. The movie ends in tragedy, and since the characters have depth, we feel the loss. â€Å"Cooley High† set the standard for African-American film excellence when it was made. This film plays on various emotions, and you definitely feel for all of the characters. Sure, some of the acting is a little wooden, but fortunately, those parts aren’t pivotal. The music is sensational, with classic songs from Motown and the tearjerker hit single, sang by then Motown’s newest recording artist, G.  C. Cameron â€Å" Its So Hard to Say Goodbye to Yesterday†, which was later released in 1991 by the group Boys II Men, in honor of the movie. Even though â€Å"Cooley High† may not have inspirational or depict a positive role model, it’s a part of my life that brings back memories of just having fun and â€Å"obeying no laws expect for the ones of caring† (Preach). This film is truly a classic from the 70’s until the years to come.

An Introduction to Using Gerunds Examples and Prepositions

A gerund is  a verb  that typically functions as a noun  or as the direct object of another verb. Generally speaking,  creating a gerund  is as easy as adding ing to the base form of the verb. There are some exceptions, however.   For one-syllable verbs ending with a consonant: Double the final consonant before adding ing. For example: dig/digging,   put/putting, plan/planning. For words longer than one syllable, there is usually no need to double the final consonant. (Exception: begin - beginning).For verbs ending in e: Drop the vowel before add ing. For example: write/writing, take/taking, bake/baking.For verbs ending in ie: Replace the vowels with y before adding ing. For example: die/dying, lie/lying. Subject When acting as a noun, a gerund often is at the  beginning of a sentence. For example: Playing tennis takes lots of physical and mental skill. Going to church is an important part of many peoples lives. Thinking about vacation makes me happy! Object of a Verb Many verbs often combine with a second verb in the gerund form. The second verb in the gerund is the object of the verb. Mary enjoys watching TV late at night. Alan admits cheating on the last test. Susan imagines having children later in her life. There are  many verbs  that are always followed by the gerund form. Here are some of the most important: admitadviseavoidconsiderdelaydenydiscussenjoyfinishkeeppostponerecommendregretrisksuggesttolerate Phrasal Verbs Gerunds are used with  phrasal verbs  that end in prepositions. Phrasal verbs are verb phrases which are made up of two or more words, generally the verb plus one or two prepositions. Here are some of the most common: bring aboutcall offcheck intocut outfigure outget overlook intoput offtake over Examples: The coach called off practicing for the day. Tom looked into finding a new job. She took a long time to get over losing her dog. Adjectives Gerunds also follow common  adjective/preposition  combinations. Remember that prepositions are always followed by the gerund form. Here are some of the most common: accustomed toafraid ofbored withconcerned aboutconvinced ofdedicated todisappointed inexposed tofilled withguilty ofinnocent ofinterested inknown forproud ofremembered forscared oftired ofupset withworried about Examples: Shes interested in taking French lessons. The man was found guilty of committing the crime. Tom is proud of donating his free time to the charity. Object of a Preposition When followed by a verb, prepositions always take the gerund form. Here are some examples: Peter arrived at work after fighting the morning rush hour traffic. Are you able to remember all the facts without googling them? She thinks Mary is against buying a new house. Remember that  prepositions are often the last word in phrasal verbs. For example: Tim thought about buying a new car. We are going to look into renting an apartment in Hawaii next summer. I look forward to seeing you soon. Subject Complement Subject complements are used to define the subject with linking verbs such as be, seem and become. Here are some examples: Her biggest wish in life is traveling around the world. My intention is making sure you understand the gerund. Her questions seem to wait for answers. Negative Gerunds Making a gerund negative is easy. Just add not before the gerund. Here are examples of each type of gerund use using the gerund in the negative form. Not wanting anything in life can make you very happy. Alison enjoys not eating fatty food, and shes lost a lot of weight. I look forward to not working on my vacation. A Word of Caution The  gerund is often confused with the present participle. Thats because the gerund looks exactly like the present participle; they both are formed by adding ing to the verb. Look at how the word is being used in the sentence; if its functioning as a noun, its a gerund.   Present Continuous Verb: Were waiting for the bus.Gerund as Subject: Waiting for the bus is boring.Present Perfect Verb: I have been working on the project for two years.Gerund as Object of Preposition: I look forward to working on the project.