These are subjective and thus liable to objection. The third part will try to bring these perceptions to a conclusive evaluation. The second part will thus rely on my interpretation and less on secondary literature. The second part will apply these issues to single and in my opinion particularly revealing film-scenes, which will be examined to perceive Zeffirelli’s and Luhrmann’s access to the characters, early and latter scientific reception and how Zeffirelli’s approach might differ due to the times his motion picture was made in and how both may or may not have succeeded in mirroring its times. These issues will be confirmed by the secondary literature used herein. A chapter is dedicated to the filmic realisation, which will consider the cuts, rearrangements and general approach of the films and their directors.
I will consider some other films that have paved the way for Zeffirelli and Luhrmann.
Furthermore, I will depict the two directors’ different backgrounds and how they lead on to their individual styles. I will examine the history of it and explain what made the two films discussed herein possible and what eventually led to them. The first part will deal with issues necessary to fully apprehend Shakespearean moviemaking. The paper is organised in three main parts, theoretics, application and evaluation. Secondly, the youthfulness should be transported to the audience through a certain quickness of movement and action and this swiftness has to be brought across not only through the cast, the acting, but also by the visuals of camera work, film editing and sound, which means the music and the very voices of the cast and their reading of Shakespeare. Still, both share a great deal of artistic and socio-cultural intentions: These are on the one hand, putting Shakespeare’s most youth-oriented play into the context of youth, after it had been staged for all its time of existence, including Shakespeare's own, by actors, who had exceeded their own youth and merely meant to revoke memories of it in the audience. With all the technical development in the field of movie-making and accurately relating to the fact that our viewing habits have considerably changed in the 28 years between these two films, we have to concede that the two movies could hardly be more disparate as far as aesthetics and cinematic approach are concerned.
LFRANCO. ZEFORRIOS ROMEO AND JULIET MOVIES MOVIE
This exam paper sets out to analyse and compare the film adaptations of the Italian director Franco Zeffirelli, who shaped William Shakespeare’s tragedy “Romeo and Juliet” into a tremendously successful movie in 1968 and the, due to its time of release, even more successful, star-studded film created in 1996 by the Australian Baz Luhrmann of the same play. This has likewise always been true for movie adaptations of Shakespeare, ever since the first grainy scraps of film were photographed in the end of the 19th century to the two modern productions of Romeo and Juliet that focus on social and cultural transformations of profound importance in the end of the sixties and in the mid-nineties, which will be the subject of this paper. This would hardly be the case, if Shakespeare had not at all times been accommodated to the zeitgeist ’s current gusto: From Shakespeare’s contemporary Elizabethan theatre and its scarce staging possibilities, the emphasising of heroism in following, war-ridden imperialistic times, the presumably outrageous staging of end of 20th century post-modern pop culture, to today’s recollection of a more romantic or idealistic approach - in the end, the audience determines what they want to see. His greatest achievement, the one he was himself probably little aware of, is though, that after the world has changed considerably in these four hundred years, his work is still adored today and considered to be topical. Certainly, no other author’s output had to endure more processing and treatment over the course of four centuries than Shakespeare’s. William Shakespeare's works are undoubtedly among the best examined pieces of literature of the world’s written word. Introduction 3 Preliminary remarks, methods and elementary presuppositions. (Franco Zeffirelli ) 2 Part I: THEORETICS 3 Preliminary remarks, methods and elementary presuppositionsĦ “Bringing Shakespeare to the masses”: Two popularisers
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