Notes on King Richard Iii and Looking for Richard

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  • Topic: Emotion, Low-angle shot, High-angle shot
  • Pages : 5 (1365 words )
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  • Published : July 16, 2010
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Lady Anne scene –
- “Presents Anne with an offer she can’t refuse”
-Showing the references throughout with popular contemporary context to derive meaning -Anne mostly in the dark enhancing her incomprehension, camera turns away from her or shows only as body parts to frame Richard’s body “Was ever a woman in this humour wooed? Was ever a woman in the humour won?”

- assonance and expansive ‘o’ sounds as well as rhetoric and repetition “I’ll have her but I’ll not keep her long”
- intercuts of ‘Ha’ as well as an increased speed of cuts through this line – almost portrays Richard as mad – cut of him out of costume in rehearsal laughing - Seduction through language and sexual tension in Pacino’s version – low neckline in costume, attempted kiss- more recognised and understood by audience, romantic model of film

- no diagetic sound
- dissolving shots, superimposition – foreshadows their union
- series of dissolves, then cuts from one to another, then in same frame, then simulates the process of initial emotional distance and of gradual physical coming together Shakespeare – power struggle by lines – Anne hold most at start then they level out, beginning to mimic and rhyme – thee and thee, husband and husband, then Anne is reduced to stage directions such as ‘she spits at him’

- Opening Soliloquy- Shakespeare - reveals a brilliant and whity mind within a deformed body as a tool to foreshadow his evil plans and expose his immoral mind
- manipulative techniques of striking imagery and metaphors; “I that am not shaped of sporting tricks, nor made to court an amorous looking glass” -Shows deceptive way in which Richard interacts with the world -explores its operation portraying the working of Richard’s mind and the methods he uses to control and injure the others; “and descant on my own deformity...I am determined to prove a villain” - Pacino – intimate camera angles – cinematic illusion – head and shoulders

- in Cloisters – lighting and use of shadows – easier to interpret meaning and within medieval context – candles + sunlight
- atmospheric music in enactments
- Limitations of stage direction leave AP open for interpretations of tone and scene structure
- “ is the winter of our discontent”
- Shakespeare accentuates Richard’s deformity to emphasise that Richard was a threat and not a legitimate ruler during Elizabethan period and deformity signifies decay on the inside - “Cheated of feature by dissembling nature” – personification of nature as untrustworthy and unfair - steady cam / hand held camera – more involving and intimate - Ghost scene –anaphora, use of supernatural, flashbacks, voice over, fast cuts

- Richmond shown to be pious (praying) in bright red velvet costume, young, fair hair and low angled shots contrasting greatly to Richard’s stubbled, dark long messy hair, sleep apparel
- “the battle is really the ghost scene”
- becomes more of a nightmare in the film – diminished to conventional - audience would not appreciate the depth of scene due to the shift in values away from the supernatural
- Close up of symbols of kingship (crown) – dissolved both in and out
- Swaying movement of camera for Richard and out of focus – shows inevitable demise while stable and clear for Richmond – perfect embodiment of medieval masculinity
- Richard spits – frustration and loss of his ability to control emotion and language
- fear of divine vengenance – formal language, repetition, balance and contrast depicts that Richards’ real opponent is God rather than mortals
- “despair therefore, and die” – Prince Edward + ghosts – foreshawdows the mental, emotional and physical disparity that he is to undergo before he dies
- “I shall despair. There is no creature loves me,/ And if I die no soul shall pity me.”
- “As snow in harvest”
- Pacino – context reshapes the fear of divine justice to inner torment – quick edit cuts to characters he has committed crimes...
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