New York: Dragonfly Boooks, 1999. The second part of the paper will deal with the content and the language of the movie Pocahontas. Only men can go into battle but she disguisesRead more
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Al pacino looking for richard essay
but the smiling villain, the beguiling dramatized director making the film Looking for Richard. A couple of lines from the film serve as a nice gloss on its modus operandi: "The text is just a means for expressing what's behind the text" and "Irony is really only hypocrisy with style." Like the first narrative, the second one represents the. The film implies that the British tradition-both its actors and its scholars-has turned the body of the bard's play into an inaccessible, irrelevant, antiquated corpse. Like King Edward, the traditions of performance have become moribund. Pacino may be displayed as a egocentric, Hollywood star fulfilling his own purpose of promoting himself unto the world. Al Pacinos choice of text also allows for tight control and audience manipulation through sound, cutaways, and edits which would have all been carefully inserted to serve Pacinos purposes. And to do this, Pacino must pull off the improbable feat of seducing all and not be seen seducing any.
The implicit claim goes something like this: Shakespeare, having been freed from what the film claims are the ossifying traditions of British performance, is restored to his pristine essence in America, and now, in addition to being a marketable commodity able to meet foreign competition-Branagh. Unlike this manifest narrative (the film as it wishes to be seen; the film fashioned as Richard fashions himself for Anne, to "woo" us) the second, repressed narrative is the product of a Ricardian "dissembling nature" and, like Richard himself, harbors "a secret, close intent.". Pacino in true Ricardian fashion is less concerned with making Shakespeare accessible, or with renewing the bard for contemporary audiences, than he is with establishing his own right of succession within the tradition, with all the perquisites that that entails. Richard is depicted in both texts as an ambitious character who strives to gain power and independence through deception and self confessed villainy. Indeed Kenneth Branagh, a powerful young Prince, exiting the film like Lear's fool, is quickly shunted offstage and Sir Ian McKellen, whose own Richard III makes him a formidable rival, is simply not mentioned at all. Long live the king!". Twentieth Century Fox, 1997. The audience may experience difficulty identifying the role of acting within both texts.
The frame's two narratives (the happy manifest narrative of legitimate succession and the ironic and repressed narrative of successful usurpation) taken together create a dissonance within Looking for Richard. Shakespeares King Richard III and Al Pacinos 1996 documentary Looking for Richard enhance a deeper understanding of ambition and identity through depicting explicit connections between each text and their audience. Richard III, every text is a confluence of other texts, containing parallels and fragments that give meaning and timelessness through prevalent themes that transcend generations. The first of these narratives, and strongly foregrounded at that (both in the film and in its publicity, the press kit, and interviews with Pacino, so that it has become quite clear that this is what we are expected to go looking for.
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