The comparative analysis of Shakespeare’s “Richard III” circa 1591 and Al Pacino’s 1996 docudrama “Looking for Richard” (LFR) reveals the capacity of these texts to transcend their timeframes due to their exploration of ideas perennially relevant to human nature. As humans‚ there is an innate desire of us to exert our ideals and beliefs on others as well as an underlying ambition for power‚ hence these texts explore the way in which art can be used to shape and reshape historical perceptions as well
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Essay 1 – King Richard III and Looking for Richard How has your study of the connections between King Richard III and Looking for Richard deepened your understanding of the context of and values within‚ each text? William Shakespeare’s play King Richard III and Al Pacino’s docu-drama Looking for Richard have enriched my understanding of how context shapes the values inscribed within each text. In light of this‚ the connection that exists between the two texts is: how the central character of the
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study of texts parallels in context can be established and evaluated‚ with the alternate visual mediums key in enhancing the audience experience. Al Pacino’s “Looking for Richard‚” (1996) provides a more coherent view of William Shakespeare’s “Richard III‚” (1592)‚ using similarities between texts to accommodate a modern audience. Both texts represent common themes of war‚ demonstrating the inherent evil of mankind through characterisation‚ with respective societal influence affecting their portrayal
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Loncraine’s 1995 film of Shakespeare’s Richard III play‚ while considerably altered to fit in with the context of the industrial 1930’s timeframe‚ still retains the values and themes of Shakespeare’s Richard III play such as Richard’s rampant thirst for power‚ the familiar good versus evil theme and influence of persuasive language‚ otherwise known as propaganda. Richard is portrayed as a Hitler figure in the film using similar colours and uniform to the Nazis. The key distinction between the
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Richard III Essay The story of Richard III tells the tale of one of history’s most tyrannous kings who stopped at nothing to claim the throne. Set in colonial England‚ it’s a powerful story that is still relevant today of betrayal‚ honor‚ and the nature of man. It is also masterfully written‚ as Shakespeare uses language to depict imagery and provoke thoughts. Shakespeare uses literary devices to illustrate Richard’s tyrannous character in act 4 when Elizabeth and Margaret are grieving over their
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conscience‚ how dost thou afflict me? The lights burn blue. It is now dead midnight. Cold fearful drops stand on my trembling flesh. What do I fear? Myself? There’s none else by.” (5.5.133-136). Richard III is a remarkable‚ if not irregular‚ rendition of the renowned historical figure‚ Richard III. In it‚ Shakespeare poses Richard as a villain with no remorse towards others—without any fear. This is evident when Richard awakes and holds an internal dialogue in which he berates his conscience for giving
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How does Shakespeare present the character of Richard in Act 1 of Richard III ? Richard III is a tale of the rise and fall of tyrannical power. Shakespeare uses many classical references and adopts the five act pattern from Roman comedy. What makes Richard a fascinating character is his skill as an actor. Like Falstaff and Hamlet‚ he is constantly playing a part and enjoying it. In Richard III‚ Richard’s soliloquies show his true vindictive nature-whereas when he is interacting with other characters
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Section III – personalities in Their Times 2007 Question 14 – Option A – Egypt: Hatshepsut a) Describe the relationship between Hatshepsut and Thutmose III? There are many contradicting views and interpretations in regards to the relationship Hatshepsut had with Thuthmose III. Hatshepsut had ruled with Thuthmose III for over 10 years‚ it is definitely evident that Hatshepsut was the senior Pharaoh in the co-regency. However‚ the nature of their relationship is not entirely known
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Thutmose III was the 6th Pharoah of the 18th Dynasty in Egypt. During his reign‚ he created a new model for a larger army; reformed the administration‚ weapons‚ chariots; and developed a way for the army to support itself away from Egypt (Gabriel 21). Most relevantly‚ he changed Egypt’s originally more defensive policies into an offensive strategy‚ which required the control of city-states in Canaan and Syria. The new policies focused on finding ways to travel faster during campaigns‚ and required
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Story of the History Games The contestants are in the center of Amsterdam with a pile of items. The contestants grab whatever items they can receive and run away in various directions. William III and Mary II run together after grabbing their items. They head towards the port with a plan in mind. Meanwhile‚ Tromp does the same because he is familiar with boats. Ruysch has no plan in her mind and walks to the port. At the port Tromp and Ruysch bump into each other. Surprised Ruysch runs onto the
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