Shakespearean Opus, commercialization, Stefan, Giles, and Nicholas
It is evident that Shakespeare intended to garner audience appeal while eliciting human emotions (Giles 14). In his most notable works, Shakespeare touches on all aspects of the human nature including love, hate, stigma, moral attributes of good versus evil, tragedy, greed and lust. Furthermore, Shakespeare's most prominent analysis focused on gender and stereotyping, and this is an important topic especially in the wake of massive Feminist movements. It is intriguing that the humanity can still relate to the Shakespearean ideologies and sentiments (Nicholas 137). The adaptation of Shakespearean works to television, film and other emerging artistic forms implies that Shakespeare is a measure of artistic quality in the renaissance era (Giles 18).
In a spate of commercialization, the filmmakers relentless try to adopt the Shakespearean masterpieces into movies that the modern community can relate with, and they end up distorting the original work, and this raises further related questions. (Giles 18). What are the messages that various directors try to pass in their renditions of Shakespearean works? The films must adapt to the modern societies while maintaining Shakespeare's philosophical elements (Keller 20). Thus, this could be the reason that Luhrmann and other filmmakers in Hollywood continue to repackage Shakespeare's works to that the new generation can relate with the Shakespearean experience.
[...] It is intriguing that the humanity can still relate to the Shakespearean ideologies and sentiments (Nicholas 137). The adaptation of Shakespearean works to television, film and other emerging artistic forms implies that Shakespeare is a measure of artistic quality in the renaissance era (Giles 18). In a spate of commercialization, the filmmakers relentless try to adopt the Shakespearean masterpieces into movies that the modern community can relate with, and they end up distorting the original work, and this raises further related questions. [...]
[...] Indeed, this is the norm in Hollywood since the directors must always come up with material that all people can relate to as illustrated by the continued success of sequences like Batman. However, despite the desire to increase their profits it is important for the directors to maintain originality in the Shakespearean works to ensure that his legacy lives on for the next cohorts. According to Luhrmann, Hollywood and Shakespeare had the aim to please a large and varied crowd. [...]
[...] Most students have the perception that the works of Shakespeare are hard to comprehend, and this arises from his use of the Elizabethan language. For this reason, most scholars have come up with strategies to dissect the Shakespearean language to make it more alluring to the current generation. By so doing, the scholars hope to garner the students' interests in the Shakespearean opus. As a renaissance writer, Shakespeare employed many devices in his works that modern readers can relate with centuries after his demise. [...]
[...] The Shakespearean language integrates functional, social and structural aspects of communication. It is through this use of language that the communicative context enables the characters to interrelate, and the audience can decipher their emotions. The philosophical elements of human existence come out through language, and thus, the Shakespearean works continue to dominate the literary scene. Modern readers can relate with the issues experienced in the Elizabethan since the same continue to exist. Proper language use in all literary genres is the only way to ensure that literature leaves a legacy for future generations. [...]
[...] Bibliography Giles, Miranda. "Cultural Capital and the Canon in today's Baz Luhrmann's Romeo+Juliet:Shakespeare vs. (n.d.): 14-21. Nicholas, Jones. Bogus Hero today: Welles's Othello and the Building of Race." A Journal of Criticism and Scholarship (2005): 133-142. Keller, Stefan Dickens. "Combining Rhetoric and Pragmatics to understand Othello." English Studies 91.4 (2010): 398-411. [...]
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