![]() Which is to say that I know proclaiming something as the best of anything is inherently ridiculous, but this is what I like about it. Metro Goldwyn Mayer.By the time I was 20 I had already seen enough movies that if somebody asked me to recite a top ten list of favorites I thought the exercise goofy. European universalism: The rhetoric of power. ‘Prospero's Books’: Word and Spectacle, an Interview with Peter Greenaway. The genetic theory of adaptation: a brief history. Adaptation Theory and Criticism: Postmodern Literature and Cinema in the USA. A Linguistic Analysis of Robert Browning’s ‘The Grammarian’s Funeral’: Exploring the Language of Literature through the Formulaic Style. The political unconscious: Narrative as a socially symbolic act. ![]() Alif: Journal of Comparative Poetics, (32), 10-31. ![]() Resistance literature revisited: from Basra to Guantanamo. ![]() Beyond adaptation: essays on radical transformations of original works. The Cambridge companion to postcolonial literary studies, 199-220.įrus, P., & Williams, C. Arab World English Journal for Translation & Literary Studies, 2(4), 130-143.īahri, D. Postcolonial Resistance of Western Imperialist Ideology: Constructing Identities of Others as Violent Savages. The study argues that The Tempest, in each of these film versions, represents different cultural agendas.Īlmenia, M. The study finally shines the spotlight on the contemporary political issues that are represented in yet another version of the same play, Prospero’s Books (1991). This study examined the verbal and physical adaptations of these characters as mediums of interaction with the viewers throughout the showing mode. ![]() Although the two versions can be compared and contrasted on many counts apart from this centrality, for ease of inquiry the current discussion was more focused on the representations of the main characters, Caliban, Ariel, and Prospero and their varied physical characteristics from one film to the other. These are tackled very differently as where the former tends to stay close to the mores of a male centric American society of 1950s while at the same time giving the viewers a good dose of a newfound love of science fiction, the latter indulges in completely feministic fantasy with a central figure like Prospero being portrayed as a female. These two versions are set apart by almost six decades, yet what brings them in close proximity is their interest with gender roles and their portrayal. This paper is an extended discussion and examination of kinds of alterations seen in two adaptations of Shakespeare’s play, The Tempest: The Forbidden Planet in (1956) as directed by Fred Wilcox, and The Tempest in (2010) as directed by Julie Taymor. In book adaptations of movies, the very multiplicity of readings renders a variety of meanings to a text, giving it dimensions that were perhaps not envisaged by the original writer. Accordingly, the ingredients that go into the making of a movie need to agree with and appeal to the cultural ethos of the viewers it is intended for. Among other things, movies entertain, educate, and inspire us, giving us role models or themes to follow. Like all art, movies are a representation of the society and vice versa. ![]()
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