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Shakespeare's influence on modern day plays
Theatre history
Theatre history
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Moliere (2007) is a film about a French playwright and actor, who went back to Paris after his execution due to his debts. Moliere was then released from prison by Monsieur Jourdain, an affluent commoner, who agreed to pay the debts of Moliere in exchange of teaching him how to act. This film was set in the 17th century in France--a time when there was a great appreciation and interest in flourishing the culture of French. It was the "Golden Age of French Literature". It was the time when art was considered by many with high regard, and without having interest in such would exclude you from what is "trendy" and popular. It was the time when paintings, writings, music, and plays were highly admired and payed attention to, and having interest …show more content…
17th century in France was the time of King Louis XIV, who was regarded as "Louis the Great", because of the several great things he was able to do while he was in power. He was eager on establishing the power position of France. He was also eager to be able to exhibit power, as well as establish absolute monarchy during his sovereignty. He concetrated on building the culture of France, and had strong artistic influence among the people. The country flourished during his reign, which was why it became rich and influential to the other countries. The film Moliere clearly showed how much the arts have influenced the lives of the French during the 17th century. In this film, almost all of the characters have a connection towards the arts. Most of them were involved in a particular form of art, which could show how much passion they put through in it. To them, art is taken to the next level. It was not just something to be bragged about, and it was not just a means of living, a form of entertainment, or a form of luxury. Art was not just a want, it was also seen as a need. It was a part …show more content…
It was seen in all almost all of the scenes of the film, as the characters exemplified class in the way they communicate, with the way they dress, with the way they eat, and even in the way Moliere and his troupe perform on stage. All of them were refine in their actions and words, even in the scenes which too much rage is expected, like the scene in which Monsieur Jourdain found out that his wife was apparently cheating on him. He took it lightly, absorbed it slowly, and even got to talk to Moliere calmy and rationally about it. It was also evident in the scene in which Madame Elmire Jourdain was dying, and Moliere was beside her, crying silently and preventing himself from breaking down. It would normally be a scene so difficult to watch because of the extent of the emotions of the characters when done in the contemporary setting, but in the 17th century setting it was a little less difficult to absorb. It was emotional, as the scene requires to appeal to the emotions of the people watching, but it was a lighter near-death scene, as compared to the near-death scenes of the films of
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
Of all the absolute rulers in European history, Louis XIV of France was the most powerful, and the best example because of his successes, being able to continue his complete control even after failures, his ability to be able to use France’s money in any way he wanted, such as the Place of Versailles, taking away the nobles power, and his ability to delegate impotant jobs to smart yet loyal people.
Canadian filmmaker and cinephile, Guy Maddin once said, “I do feel a bit like Dracula in Winnipeg. I’m safe, but can travel abroad and suck up all sorts of ideas from other filmmakers… Then I can come back here and hoard these tropes and cinematic devices.” Here, Maddin addresses his filmmaking saying that he takes aspects from different film styles and appropriates them into his own work. In The Saddest Music in the World (2003), Maddin uses a combination of French Surrealist filmmaking and classical American Hollywood cinema, specifically melodrama, to create his own style. In an article by William Beard, Steven Shaviro talks about Maddin’s filmmaking, and he links Surrealism and melodrama together saying, “Maddin’s films are driven by a tension between romantic excess [melodrama] on the one hand and absurdist humour [Surrealism] on the other.” In regards to The Saddest Music in the World, the relationship between Surrealism and melodrama is not one of tension, as Shaviro suggests, but one of cooperation. This paper will analyze two films by filmmakers Maddin was familiar with —Un Chien Andalou (1929) by Luis Buñuel and Salvador Dali on the Surrealist side, and All That Heaven Allows (1955) by Douglas Sirk on the melodrama side—to showcase the important elements of each, concluding with an analysis of The Saddest Music in the World in conjunction with both film styles. Ultimately, it will be shown how Guy Maddin combines French Surrealist cinema and Hollywood melodrama in The Saddest Music in the World, to create his own unique film style.
Overall Coppolas did an exceptional job in telling the story of Marie Antoinette’s life before the French revolution through its mise-en-scene. The film had amazing setting, costume, lighting and change of figure behavior. Everything from beginning to end was very appealing to the eyes. The film was very entertaining and fun to watch.
Bordwell, David. “The Art Cinema as a Mode of Film Practice.” Film Theory and Criticism. Eds. Leo Braudy and Marshall Cohen. Oxford University Press, 2009: 649-657.
The Rules of the Game embodies the isolation, disillusionment, bitterness, and nostalgia portrayed during the Poetic Realism or French Impressionist cinematic movement (1934-1940) by contrasting the realistic and formative traditions. The Rules of the Game follows a nar...
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
An Analysis of the Absolute Monarchy of France in the 17th Century This historical study will define the absolute monarchy as it was defied through the French government in the 17th century. The term ‘absolute” is defined I the monarchy through the absolute control over the people through the king and the royal family. All matters of civic, financial, and political governance was controlled through the king’s sole power as the monarchical ruler of the French people. In France, Louis XIII is an important example of the absolute monarchy, which controlled all facts of military and economic power through a single ruler. Udder Louis XIII’s reign, the consolidation of power away from the Edicts of Nantes to dominant local politics and sovereignty
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
Lanzoni, Rémi Fournier. French Cinema: From Its Beginnings to the Present. 1st ed. London: Bloomsbury, 2013. Print.
Both Louis XIV and Peter the Great were famous rulers of the late 17th- early 18th Centuries. Both took the throne at a young age and both had many strengths and weaknesses. Louis XIV had many strengths during his reign as ruler of France. Appointing Jean Baptiste Colbert as his minister of finance made some of his greatest strengths and accomplishments. One strength was that of mercantilism, which is an economic theory under which a country increases its wealth by exporting more goods than it imports. By accomplishing this, Louis XIV made himself and France very wealthy. More wealth was made when a balance of trade brought more gold and silver into France. A high tax was placed on imports and that also earned money. Soon, Fran...
Victor Hugo’s Les Miserables takes place during the tumultuous time of the French Revolution. A period of radical, social, and political upheaval in France, a time when one’s true character is revealed. “French society underwent an epic transformation as religious, feudal, and aristocratic privileges evaporated under a sustained assault from liberal political groups and the masses on the streets. Old ideas about tradition and hierarchy succumbed to new enlightenment principles of citizenship and inalienable rights” (World News). People of the 1700s lived through the storming of the Bastille, multiple constitutions, and changes in the role of women, the system of government, and the hierarchy of the Estates- General. The French Revolution became a symbol of change, of ideals, a mark on history. Through deeper explication of Victor Hugo’s Les Miserables, the intersections of the ideals of society, government, class, religion, and individuality, extremely prevalent throughout the French revolution, clearly manifest themselves in the actions of the marginal characters often overlooked. Through his setting and minor characters, Mademoiselle Baptistine, Madame Magloire, the Bishop, and Javert, Hugo clearly expresses his beliefs on the interaction of ideals in one’s life and the resulting effect on one’s character.
O’Donnell, Sr., Joseph J.. “Art and the French Revolution”. The Eerie Digest, May 2013. Web. 5th May 2013.
The influence and inspiration from them all fundamentally came from Greek Theatre, and the impact of this style not only influenced the society around them, but also subtly commented on the political structure of France at the time. As Molière was one of the first to criticise the state and monarchy through his work, particularly ‘Tauffe’, the way in which it was performed, as it was to a generally, lower class audience, was vital to the social structure. This is mainly due to the actors and the working class people having an alliance on stage, against, in a sense, the bourgeoisie. Comedy, at the time was not something that was for the upper classes, evidently in their social convention to not laugh a plays in general as it was not what they deemed correct. Nonetheless, it created a bridge between the actor, playwright and the lower class of people. Although the staging was built for the richer audience to have the best view, and everyone else’s to be distorted, the comedy could be seen as joke on the upper class themselves, as it was presented directly towards
An Analysis of Moliere’s Satirization of Social Issues A man, or rather a demon in flesh and inhabited as a man, the most notably impious creature and libertine who ever lived throughout the centuries, has had the impiety and abomination to bring forth from his devilish mind a play [Tartuffe]…He deserves for this sacrilegious and impious act…to be burned at the stake as a foretaste of the fires of hell. Pierre Roulle (1664) Moliere lived a life surrounded by controversy. After renouncing his position of Valet de Chambre Tapissier to pursue his acting career, Moliere formed a theater performance troupe called “The Illustrious Theater'; with his mistress’s family, the Bejarts. The troupe struggled for two years before collapsing in 1645 under the weight of massive debts. Moliere was soon arrested for bankruptcy. After bail was posted he fled from France with Madeline Bejart. Moliere returned to France some time later after his father paid his debts. He soon married Armande Bejart, either the sister or daughter of his first mistress, Madeline. His enemies charged him with incest. Not only his personal life, but his plays as well were considered subjects of controversy. Many were considered blasphemous. Tartuffe, for example, was forbidden from being performed for five years. Controversy followed Moliere right up to the day he died, when he was refused burial in the local cemetery because his remains would offend the sacred ground. Moliere thereby left the world in as agitated a manner as in which he had lived (Hobdell 102-105.)