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Essay / Research Paper Abstract
A 5 page research paper/essay that contrasts and compares 2 versions of Shakespeare’s famous play. The writer examines director Trevor Nunn’s film adaptation of Shakespeare’s Twelfth Night and compares it to a televised version of a stage production that was directed by Kenneth Branagh, with the television version directed by Paul Kafno. The paper contrasts elements such as setting, lighting, emphasis, adherence to the original, etc. Bibliography lists 4 sources.
Page Count:
5 pages (~225 words per page)
File: D0_kh12nkan.rtf
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Unformatted sample text from the term paper:
television version directed by Paul Kafno. Setting: Nunns film was shot on location in Cornwall, with all exterior filming completed during the fall months, which afford the filmmakers a
"gorgeous array of fall colors as well as an overpowering melancholia conveyed by perpetually gray skies" (Brode 97). The TV version of Branaghs production of Twelfth Night is set in
winter on a proscenium stage. There are two basic sets, one outside the home of Olivia and the other outside the home of the Duke. Lighting: The lighting in
Nunns exterior shots is natural and the locations are vivid and beautiful. However, whether or not natural lighting is a benefit to this play is debatable. Critic Richard Alleva argues
that the qualities that make Twelfth Night magical relying on contrivance and artificiality (Brode 98). There must be a "willing suspension of disbelief" and acceptance of the idea that no
one in the play suspects that Viola is not a boy (Brode 98). This "works better when the lighting, costuming, set design and performance style are all artificial," which serves
to legitimize the "artificiality of the premise" (Brode 98). Alleva argues that when actors are placed "in nature" and the camera shows their "only moderately made up faces," the contrivance,
which is at the "heart of this piece, cannot stand such a strong dose of reality" (Brode 98). There is artificiality in abundance in the Branagh TV production as
the background drapes for the set can be clearly discerned behind each sets props. The lighting is darkened to indicate night and bright to indicate day. This gives the nighttime
scenes a blue cast. The artificiality of the set does, indeed, add to the believability of what would otherwise be an unbelievable pretense, which is that Viola is perceived by
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