Baz Luhrmans modern interpretation of the Shakespeare play Essay Example for Free

Baz Luhrmans modern interpretation of the Shakespeare play Essay This essay is based on Baz Luhrmans modern interpretation of the Shakespeare play; Romeo + Juliet. It will be focusing on the opening scene, and Prologue. I will be analysing how Baz Lurhman portrays the feud between the Montagues and the Capulets. I will also be discussing how the presentation of The Prologue helps the audience to understand the play. The film begins with a blank TV screen. The TV screen could represent the modern interpretation to the play. The screen the becomes occupied by a news-reader, who begins reciting the sonnet. The idea of the sonnet being read off the news, emphasises the how important the situation is. Once the news-reader has completed the sonnet, the TV transports you to the scene of the play; Verona. The establishing shot becomes apparent; a Montague building separated form a Capulet building, only by the statue of Christ. This emphasises the theme of religion, and the line in the sonnet: Both alike in dignity This is because each building belittles the rest of Verona, as well as the other. The camera then speeds up and shows a sequence of fast shots. This is known as mise en scene. This represents a degree of chaos, and highlights the conflict between the two families. The Prologue is then recited again, this time, by the Friar. As he reads, the words are reinforced by bold, white text, on a black background. The contrasting colours could be highlighting the two families differences. The use of colour; in this case black and white, are most likely an deliberate choice, as black and white are both immediate opposites, therefore helping the audience differentiate between text and background. This allows the audience to correlate the friars voice with the text, despite the short amount of time in which the text is shown. After the Friar has completed The Prologue, the camera focuses on a family tree, of each family; in turn. Almost as soon as it has shown the family trees, the shot becomes engulfed in flames. The flames could convey a message of hatred, rage and anger between the two families. From the flames, a newspaper heading appears, whilst the flames fade. The heading suggests re-occurring violence between both the Montagues and the Capulets, and could also show that the feud is still as strong as ever. We can then learn that the strongest of the families quarrel lies between the youth of each house. This becomes apparent when the camera focuses on a number of magazines, with the younger generation of each house on the cover. Baz Lurhman also incorporates the use of magazines, as opposed to tabloids, when referring to the youth, as younger people are usually more associated with magazines. In the next shot, the parents of each house are pictured, accompanied by the actors name and character. In turn, the same happens for every character. This is important, as it allows the audience to differentiate between the members of each family, and who the main roles are. The types of shots depicted are very solemn, except for a character named Paris. He is shown in a happy scene; as he is not involved in the feud, whilst every other character is affected, in some way, by the civil conflict. The Prologue concludes with a montage of shots, featured earlier in The Prologue, aswell as a repertoire of emotion-provoking shots, from later in the film. As the closing sequence is shown, shots of fireworks are merged in, to again, establish the theme of chaos. Finally, the title appears, and The Prologue finishes. The final aspect of Baz Luhrmans interpretation, is the Music. Without this particular piece (Carmena Burana), The Prologue would not provoke as many emotions within the audience. This is because; as the tempo, and volume rises beyond forte, Baz secrenises the action scenes to run along side this. He also utilises the piano-pianissimo parts of the piece to again, establish the sonnet. All together, the music adds the element of drama, and strong emotions to the opening scene.

Comparison of the Book and Movie Version of A Clockwork Orange :: Movie Film comparison compare contrast

A Comparison of the Book and Firm Version of A Clockwork Orange    In the story of his teenage years, starting at fifteen.   He begins his tale as the leader of a small gang that spends its evenings pillaging and wreaking havoc on the town until the gang mutinies and "Your Humble Narrator," as Alex refers to himself, is caught by the police.   From there, Alex travels to State Jail 84F to serve 14 years, but receives an offer from "the Government" which entails undergoing experimental treatment in return for early release.   He seizes what seems to him an opportunity, but is horrified by the "cure" he endures.   The new "good" Alex that is released unto the world is depressed, frustrated, and lonely, although no longer violent.   A radical political group then exploits him as an example of the cruelty of "the Government."   This faction tries to force Alex to suicide in order to gain a martyr, but Alex's attempt fails and he is nursed back to health and his natural mental state by the Government, who in the end comes out on top.   Ã‚  Ã‚  Ã‚  Ã‚   Alex, whose last name is not mentioned in the book, is a violent, aggressive teenager of fifteen, who is the leader of a four-person gang.   He truly enjoys violence, reveling in the sight of blood or weapons.   Alex's love of hate is not simply a rebellious emotion, but as he explains, it is his very nature, and he could not change it if he wanted to.   Despite his passion for what most see as ugly and disgusting, Alex does have a great appreciation for classical music, especially Beethoven.   Ã‚  Ã‚  Ã‚  Ã‚   Alex's main conflicts are both external and internal.   His external conflicts are between him and the members of his gang.   Dim and Georgie, two of the members of Alex's gang, are unwilling to accept Alex's leadership.   They challenge his authority, and Alex reacts rashly by trying to re- establish his dominance through defeating both of his aggressors in fighting.   This confrontation only raises tensions within the gang, and leads to a betrayal which results in Alex's capture on the charge of murder.   Alex's main internal conflict is a physiological one.   The Government's experimental treatment which Alex undergoes involves conditioning to produce a feeling of nausea and

Cognitive Behavioural and Psychodynamic Approaches Essay

Coping with the death of a loved one often means that the bereaved must develop a new way of viewing themselves and the world around them without the presence or influence of the deceased. In general, reactions to the loss of a loved one are considered intense in the initial period following the death, but on average, these feelings lessen over time (Parkes, 1975; Rando, 1993; Sanders, 1989, 1993, cited in Malkinson, 2001). Some bereaved individuals can successfully cope with this transitional phase and are capable of returning to â€Å"an adaptive level of functioning† within the time frames expected (Marwit & Matthews, 2004) without experiencing severe impairments. However, some grievers can experience severe affects to their physical and psychological well-being (Gallagher-Thompson et al., 1993; Ott, 2003; Stroebe & Stroebe, 1987, cited in Marwit, et al, 2004); cases in which the bereaved is demonstrating prolonged irrational beliefs and/or behaviours about the loss can be an indication of an emotional disturbance (e.g. complicated grief). Complicated grief (CG) can be defined as â€Å"the intensification of grief that does not lead to assimilation of the loss but instead to repetitive stereotypic behavior as well as impaired functioning† (Malkinson & Witztum, in press, cited in Malkinson, 2001, p. 672). The discourse of this paper will compare and contrast psychodynamic and cognitive-behavioral theories with examples of models used to facilitate grief work in situations of complicated grief as well as a brief explanation of what is considered grief resolution. Let us begin with a brief explanation of the core principles of each approach. Psychodynamic counseling is concerned with the role of the unconscious, childhood experiences and how they can ultimately effect our mental processes which in turn manifest in our actions. According to this approach in order to deal with conflicts certain defensive actions or mechanisms instinctively come to our rescue whenever we feel vulnerable or as if our view of reality is being challenged. For example in bereavement cases, clients will often use denial as a defense mechanism and coping strategy in order to avoid the intense pain that comes with acceptance of loss. However effective this may be for short-term relief, in the long run, the client runs the risk of developing symptoms of complicated grief (Hough, 2010). Contrariwise, cognitive-behavioral approaches place almost no emphasis on the past and childhood events, unless it directly relates to difficulties of the present day, in such cases it acknowledges but does not focus on this factor. Rather it concentrates on present day thinking/behavioral patterns exhibited by the client, ways to recondition the client’s cognitive processes and how to eliminate unwanted or destructive cognitions and behavior. Additionally, (and specific to aspects of behavior) this approach adheres to empirically sound principles and procedures that have been tested for their effectiveness and reliability (Hough, 2010), whereas the psychodynamic approach is theory based. The rationale behind CBT being, since negative patterns of thinking and behaving are learned they can be unlearned. We now examine established beliefs about grief and grief resolution. Grief has traditionally been seen as a healthy process aimed at decathexis, abandoning or letting go of commitment to one’s relationship to the deceased (Freud, 1917/1957, cited in Malkinson, 2001) as well as the ability to form new relationships (Malkinson, 2001). During most of the 20th century, leaders in bereavement research followed Freud’s (1917/1957, cited in Marwit, et al., 2004) theoretical model of decathecating grief in which he believed that the bereaved invested a great deal of mental energy into maintaining the attachment to the deceased and in order to reach a resolution of grief it was vital to release this attachment, i.e. to exhaust the energy. To facilitate the process of grief work, the survivor must confront the feelings of loss and allow himself to express the emotions associated with the loss by revisiting the events leading up to and during the death. However, the notion held by Freud (accepting the loss is a sign of grief resolution) is not supp orted by empirical evidence (Artlet & Thyer, 1998, cited in Malkinson, 2001). Cognitive-behavioral models have expanded to include treatment of loss and grief, specifically complicated grief (Fleming & Robinson, 1991, 2001; Florsheim & Gallagher-Thompson, 1990; Malkinson & Ellis, 2000; Neimeyer, Prigerson, & Davies, 2002; Reynolds,1996,1999; Stubenbort, Donnelly, & Cohen, 2001, cited in Marwit & Marwit, 2004). Researchers maintain that more consideration must be given to other processes of grieving which allows for a continued connection between the survivor and the deceased as opposed to decathecting. Additionally, modern day research criticizes the need for finality and closure as a sign of resolution, and instead views the bereavement process as an on going modification of preexisting cognitions and emotional reactions to the â€Å"new reality† (Malkinson, 2001). As opposed to severing ties to the deceased, the maintenance of bonds is now being proposed (Malkinson & Bar-Tur, 1999; Rubin & Malkinson, 2001; Silverman, Klass, & Nickman, 1996, cited in Malkinson, 2001). Klass (1999, cited in Marwit, et al., 2004) reasoned that resolution is achieved â€Å"by integration of the deceased into the ongoing life of the griever† (p.852). Research involving grieving parents reveals a common element of prolonged association and connection with the deceased. As a result of this theory Stroebe and Schut (1999, cited in Marwit, et al., 2004) put forward the Dual-Process Model (DPM), which allows the bereaved to confront painful feelings and cognitions involved in mourning, but to avoid them as well. They maintain that clinicians and researchers must understand the cognitive processes experienced by the griever, and also, the regulation of these cognitions during the bereavement process (ibid.). According to this model, there are two types of stressors: loss-orientation and restoration-orientation. Loss-oriented coping focuses on dealing with the actual loss itself and cognitions such as â€Å"He was too young to die†. Also, addressing the aching desire for the person, for example allowing the emotional expressions to flow, i.e. crying over pictures of the deceased as well as recalling happy moments shared. Alternatively, restoration-oriented coping deals with the task of successfully continuing life and developing a new identity without the deceased and at times, even having to take on those duties and responsibilities, which were previously held by the deceased. Some examples of these potential challenges may include, identity shifts such as â€Å"homemaker† to â€Å"employee† or â€Å"daughter† to â€Å"orphan† and new responsibilities such as entering into the work force for the first time and learning to manage finances. In this way the bereaved goes through a process of learning and coping with new cognitions and realities, such as â€Å"I am the breadwinner now.† (Marwit, et al., 2004). The bereaved must learn to process such new cognitions as a part of moving forward. The DPM is concerned with the interaction of a myriad of cognitive process. According to Bower, et al (1998, cited in Marwit, et al, 2004) in this instance cognitive refers to â€Å"the process of actively thinking about a stressor, the thoughts and feeling it evokes, and its implications for one’s life and future†. Cognitive processes taking place among the bereaved can therefore be described as split between implicit and explicit processes (Marwit, et al, 2004). There is evidence to suggest that exposure therapy can do more harm than good, also that complete avoidance is not always successful in grief resolution, Stroebe & Schut (2001, cited in Marwit, et al, 2004) use an approach referred to as oscillation which allows the griever the balance of both confrontation and avoidance in both loss- and reorientation-coping. This is similar to psychodynamic approaches in which the client has control in directing the course of the therapy (we shall see below). Oscillation gives the client a break from dealing with intense painful emotions for a long period of time. To begin the process of grief work in a psychodynamic setting involves establishing an explicit therapeutic agreement between the therapist and the client whereby the client makes the decision to focus on the loss when he is ready (Lamb, 1988). Once the agreement is made, the therapist explains what the client can expect during future sessions and continues to reassure the client that the pace of the therapy, area of exploration and subject matter discussed will be entirely at his discretion (Lamb, 1988). This gives the client a sense of control during a crisis where he may feel helpless. The therapist can now guide the bereaved through the process of actually acknowledging the loss, reawakening reminiscences, adjusting to their existence in the world without the lost one and to experience all of the pain and emotions associated with this actuality (Worden, 1982, cited in Lamb, 1988). This is achieved through interventions such as, instructing the client to bring memorabilia to sessions like pictures, belongings of the deceased and other â€Å"linking objects† (Volkan, 1972, cited in Lamb, 1988); also the application of such techniques as role-reversal, â€Å"the empty chair† and keeping a dream diary (Lamb, 1988). Another way to elicit emotional response is by encouraging the survivor to talk about positive as well as negative features of the relationship with the deceased (Lamb, 1988). It is also important to allow the client the opportunity to tell their story as often as they wish as this not only assists the griever to confront painful feelings associated with the loss, but it also affords the therapist the opportunity to point out underlying issues which may be the source of the pain. Hough (2010) describes a case study in which a young woman, Linda, sought grief therapy after suffering with depression stemming from the death of her grandmother two years prior. During one session Linda mentioned having to move in with her grandparents after her parents divorced and showed avoidance and discomfort at the mention of this point (i.e. left that particular session early, arrived late for next session). Through â€Å"listening, observing, interpreting, linking, giving reflective response and looking at defences and resistance† (Hough, 2010) the therapist was able to address and draw attention to an underlying issue, which was the actual source of the depression; one that Linda had never been able to identify on her own. Wogrin (2008) explains her approach to this process as listening for what she calls the client’s quieter voice, the one that even the client himself is unaware of. Another form of psychodynamic intervention is group therapy, during which grievers are encouraged to try and understand how unresolved conflicts beneath the surface may be hindering their abilities to cope with loss (Kipnes, et al, 2002; MacNair-Semands, 2004; Piper et al, 2001, cited in Para, 2009). Let us consider two operational forms of group therapies: interpretive and supportive groups. Interpretive group therapy provides a forum for individuals suffering from complicated grief, to gain insight into trauma and recurring internal struggles that impede the griever’s ability to mourn in a normal way (Piper, et al, 2001, cited in Para, 2009). This form of therapy also aims to assist the client’s understanding and acceptance feelings of ambivalence toward loved ones lost (Para, 2009). The counsellor refrains from praise with the purpose of promoting tolerance of stress and uneasiness (Para, 2009). The most important objective of supportive group therapy, however, is to enhance acclimatization of the bereaved to their current situation of loss and grief (Piper, et al, 2001, cited in Para, 2009). The counsellor promotes a pleasurable environment for grievers to express shared experiences and emotions common among the bereaved (Para, 2009). During supportive group therapy the counsellor is non-interpretive and less probing as opposed to interpretive therapy(ibid). So far, we have discussed the two approaches separately, but there are occasions where integration of the two may be necessary and beneficial to the client. For instance, in situations where the survivor suffers from nightmares relating to the death, it may be practical in integrate behavioural exposure techniques as well as symbolism and imagery. Reynolds (1996) asserts â€Å"Drawing as well as verbal representation could also be regarded as an effective form of exposure therapy, helping the client to stay with the anxiety-provoking death-related images† (p.1) To conclude According to the cognitive perspective, suffering a loss through death is a very difficult external occurrence that completely changes one’s belief system and consequently all related sentiments and actions. Internal feelings and beliefs are challenged in CBT as the therapist attempts to show the client other ways of thinking about and adjusting to their loss, this is not unlike the psychodynamic approach. However, in psychodynamic models, internal belief systems are challenged with regards to unconscious conflict resolutions. CBT seeks to inform the client of what can happen as a result of grief due to a loss, to identify different reactions which may be normal responses to loss and to reveal new or better coping skills. Again, this is similar to psychodynamic therapies in as much as the therapist explains emotions which may arise during therapy sessions. Additionally, exposure techniques are used by both theories as a way to encourage the client to face the death head-on. This can be achieved by using emotional cues of the loss i.e. sorting through the personal belongings, talking to them in an empty chair this allows the client to experience a sense of connection to the deceased. The aims of psychodynamic and cognitive behavioural approaches to grief are similar and may at times be integrated in order to provide the best possible intervention for the bereaved. (2242 Words) References: Para, E. A. (2009) Group Counselling for Complicated Grief: A Literature Review. Graduate Journal of Counseling Psychology, 1(2). Article 10100-112. Malkinson, R. (2001) Cognitive-Behavioural Therapy of Grief: A Review and Application. Research on Social Work Practice, 11, 671-698. Lamb, D. H. (1988) Loss and Grief: Psychotherapy Strategies and Interventions. Psychotherapy, 25(4), 561-569. Marwit, L. T. & Marwit, S. J. (2004) Complicated Grief and the Trend Toward Cognitive-Behavioural Therapy. Death Studies, 28, 849-863 Neimeyer, R. A. & Wogrin, C. (2008) Psychotherapy for Complicated Bereavement: A Meaning-Oriented Approach. Illness, Crisis & Loss, 16(1) 1-20. Reynolds, F. (1996) Laying Mother to Rest: Working with Grief-Related Nightmares Through Exposure Therapy and Imagery. Counselling Psychology Quarterly, 9(3) 1-7 Hough, M. (2010) Counselling Skills and Theory 3rd Ed, UK: Hodder Education

Mrs. Dalloway By Virginia Wool Essay - 796 Words

In Virginia Woolf’s book, Mrs. Dalloway, Clarissa Dalloway and Septimus Warren Smith grow up under the same social institutions although social classes are drawn upon wealth; it can be conceived that two people may have very similar opinions of the society that created them. The English society which Woolf presents individuals that are uncannily similar. Clarissa and Septimus share the quality of expressing through actions, not words. Through these basic beliefs and idiosyncrasies, both characters mimic each other through their actions and thoughts, even though they never meet. Clarissa feels sadness and death around her. There is much routine and habit around her but she still seems dissatisfied. At her late age of fifty she sees†¦show more content†¦Subconsciously, he reveals his need to be nurtured, but he pulls away from society when he falls ill and has trouble dealing with reality. Both Septimus and Clarissa are very similar in this manner. Death is perceived as defiance by both characters. Clarissa expresses her belief in reincarnation. She believes if her true self is not revealed in this life, it will be revealed in the next. She has the belief that everything will work out, eventually. Thinking of Septimus’s death, Clarissa remembers thinking before a party, â€Å"If it were to now die, ‘twere now to be most happy†(Woolf 184). She felt if she was to die, it was a good point in her life to die. As for Septimus, he knows of war, death, and destruction; he knows that society will not change and that he cannot live in a world that can be so constricting. Septimus takes a leap of faith and ends all of his suffering in this unforgiving world; individuality, Septimus and Clarissa recede into the depths of normality. Clarissa accepts this recession, from having a dream to being merely Mrs. Dalloway. However, he does not, this constriction and uniformity propels him out of his bedroom window to death. Although Clarissa and Septimus differ in their response to this uniformity, the truth remains that they are both dissatisfied. Their dissatisfaction emanates from Kramer 3 their influence from their surrounding society. Many people don’t understand what Septimus isShow MoreRelated The Social/Economic Upper-Class in England in Mrs. Dalloway, Sense and Sensibility, and The Picture of Dorian Gray1383 Words   |  6 Pages The social/economic upper-class in England in Virginia Woolf’s Mrs. Dalloway, Jane Austen’s Sense and Sensibility, and Oscar Wilde’s The Picture of Dorian Gray are depicted through the characters’ lifestyles, wealth, and behaviors. Woolf, Austen, and Wilde give insightful portrayals of the characters by emphasizing their social roles in the England society. Their portrayals of the characters suggest that they are critical of the upper-class’ factitious lifestyles. Members of England’sRead MoreSocial Struggle : Mrs. Dalloway And The Picture Of Dorian Gray1439 Words   |  6 PagesWilde’s The Picture of Dorian Gray, Virginia Woolf’s Mrs. Dalloway, Gene Luen Lang’s The Shadow Hero and Tate Taylor’s The Help throug ¬h the characters lifestyles, wealth/ lack thereof and behavior. Each of these authors, playwrights and artists give insightful portrayals of their characters through an emphasis on their social roles. The portrayals made by them show a critical view of the social hierarchy and bigotry. Members of the upper-class, like those in Mrs. Dalloway and The Picture of Dorian GrayRead More Imposing Our Own Ideological Frameworks onto Virginia Woolf and Her Writing3784 Words   |  16 PagesImposing Our Own Ideological Frameworks onto Virginia Woolf and Her Writing Whenever we try to imagine the feelings or motives of a writer, we impose our own thoughts and ideas, our own biases, onto that person and their work. Perhaps in order to justify our choices or legitimate the philosophies that we hold dear, we interpret texts so that they fall into place in our own ideological frameworks. Literature, because it engages with the most important and passionate questions in life, evokes