RICHARD QQUOTES Flashcards
(37 cards)
1
Q
RICH 3 1/6
power
MICTTA
A
“my lord I claim your gift, my due by promise…the earldom of Hereford”
- submissive voice
- inclusive pronouns
- Buckingham’s ambition for power as one of social status
2
Q
PACINO 2/6
power
MICTTA
A
“it has always been a dream of mine to communicate how I feel about Shakespeare to other people”
- reflective use of vignette
- Pacino’s purpose and ambition coinciding with the 90s context
3
Q
PACINO 3/6
power
MICTTA
A
“communicate a Shakespeare that is about how we think, and how we feel, today”
- adage
- cumulative sentence
- expresses Pacino’s intention for the piece
4
Q
ACADEMIC quote 4/6
power
MICTTA
A
“those in power have total contempt for everything they promise, everything they pledge, and this is really what Shakespeare’s great play is about”
- complete disregard for the needs of others focused on their agenda
- allegorical language
- inevitability of individuals in power to be corrupt, with others seen as unworthy of respect or attention.
5
Q
ACADEMIC quote 5/6
power
MICTTA
A
“they are clawing at each other for the throne”
- power is experiences by the collective, transcending of time or context
6
Q
POWER IN THE TEXT
A
- While Pacino’s goal is to convey his feelings on Shakespeare to an Americanised audience, Shakespeare’s intentions were focused on creating an entertaining composition reflecting historical events of the time and commenting on elements of the humanity
- contrast of consequences of usurping power through divine retribution as oppose to modern justice
7
Q
PACINO 1/3
duplicity/deceit
CID
A
- cinematic techniques to persuade audience opinion
- low key lighting = evil
- chiaroscuro lighting
- stichomythia (one after other) dialogue, close ups – conveys tension
- conveys the use of manipulative language, skilful irony and flattery in order to deceive the audience and change their outlook on Shakespeare – appeal to goal.
8
Q
RICH 3 2/3
duplicity/deceit
A
“twas thy beauty that provoked me”
- satire
- it is through this display of manipulation, in the performance of Richard as a devoted lover, that his true character is recognised.
9
Q
RICH 3 3/3
duplicity/deceit
A
“dive, thoughts, down to my soul”
- commanding tone
- his deceiving nature in being able to immediately change his characterisation as good in front of others.
10
Q
DUPLICITY AND DECEIT IN TEXT
A
- Duplicity enforced within both texts, with the employment of dramatic irony intentionally heightening Richard’s plots of manipulation, mirrored within Pacino’s texts with jump shots to close-ups of Pacino breaking the fourth wall after moments of humour/irony and the visual characterisation of Richard’s duplicity through chiascuro lighting and dark clothing.
- employed as a necessary means in which individuals can utilise in the bout for power
11
Q
PACINO 1/4
Predeterminism/power
WADG
A
“Why can’t we change G to a C?”
- rhetorical question
- irony
- the film loses the importance of prophesy (as a kind of active willing or intention rather than psychic powers) as Elizabethan audiences would have experienced it. original play; enhance or expand Pacino’s work.
12
Q
RICH 3 2/4
predeterminism
WADG
A
“a murd’rous villain and so still thou art”
- margaret
- Margaret reminds the other characters of God’s will and providence (care) – foreshadowing the consequences of his evil. Directly links to the Elizabethan audience and their knowledge on the effects of diminishing the great chain of being.
13
Q
RICH 3 4/4
predterminism
WADG
A
“God and good angels fight on Richmond’s side, And Richard fall in height of all his pride”
- buckingham
- Religious allusions
- rhyming couplet
- acts as the perspective of the Elizabethan audience, looking to Richmond for justice because of his characterization as noble and honorable.
14
Q
PREDETERMINISM/FREE WILL + JUSTICE/DIVINE RETRIBUTION IN THE TEXT
A
- In the play Richard’s quest for power is his downfall, with it breaking the great chain of being – forming the Elizabethan value at the time of divine retribution. This is a direct juxtaposition of Pacino, Downplaying the importance of great chain of being, because of its irrelevance to context – instead focusing on Richard’s downfall as a result of evil and divine retribution through justice.
- dissonance/collision with Elizabethan values
15
Q
RICH 3 1/2
Conscience
OW
A
“O coward conscience, how dost thou afflict me”
- Richard does not seek salvation – further enhances his evil nature; heightened through fluid cuts and distortionate imagery
16
Q
RICH 3 2/2
conscience
OW
A
“when he opens his purse to give us thy reward, thy conscience flies out?”
- joy
- metaphor
- comments on the nature of conscience within those considered “evil” – with it being almost suppressed and overpowered by a drive for money.
17
Q
CONSCIENCE WITHIN THE TEXT
A
- Women represent the voice of conscience and compassion
- despite the increased prevalence of feminism within the 90s, Pacino silences the voice and perspectives of women, to further his own artistic agenda
18
Q
PACINO 1/3
shifting values and context
YWA
A
“you want to do it with your American accent”
- Vox pop interview
- Mid close-up shot of Pacino breaking fourth wall, low key lighting – a reflection of deception and Richard
- Interviews highlight stigma in Americans being unable to understand Shakespeare
19
Q
PACINO 2/3
shifting values and context
YWA
A
“We have no feelings. That’s why it’s easy to shoot each other…he did more than help us, he instructed us”
- Close-up, repetition of noun “feel”
- juxtaposition of English perspective, established within the close-up; social commentary on the violence of 90s society and the ability of Shakespeare to portray the human condition.
20
Q
PACINO 3/3
shifting values and context
YWA
A
“As Americans, what is that thing that gets between us and Shakespeare”
- direct question
- collective pronouns
- Highlights the contrast of understanding between modern plays and that pf Shakespeare, with those now being specific to context.
21
Q
PACINO 1/3
form and language features
TSN
A
- title depicting “king Richard”, letters appear and it changes to “looking for Richard”
- from the opening, we see Pacino paying homage to the original text, suggesting the intentions of the project and thus the changes to account for societal values.
- Pacino explores how rhetoric can be convincing and alluring yet able to deceive others. Pacino’s speaking skills are exemplified visually and aurally in the Lady Anne scene. The difference in Ryder’s facial expression, low key lighting and a quick shot of a mummified body illustrates the influence of Richard’s rhetoric; enough to be able to change a mourner into a lover. The use of low key lighting and a slow zoom in shot of Pacino’s face highlights Richard’s twisted logic as a key aspect of his rhetorical skills.
22
Q
ACADEMIC 2/3
form and language features
TSN
A
“Shakespeare has exaggerated his deformity in order to body forth dramatically, visually, metaphorically, the corruption of his mind”
- voiceover
- highlights the composers control over the composition, in order to further an individual’s characterisation – justify
23
Q
CONTRAST OF BOTH 3/3
form and language features
TSN
A
“Now is the winter of our discontent”
“voiceover of lines from the tempest”
- contrast of entrances
- high modality
- panning
- zooming
- non-diegetic sound
- post-modern style
- the contrast of the introduction to the play through high modality language and the documentary through establishing shots of the landscape and a voiceover of a soliloquy from the Tempest. Establishes both composers intentions, Pacino does this in a way that doesn’t turn his audience away/overwhelmed, whereas Shakespeare’s
24
Q
RICH 3 1/2
Gender roles
IS
A
“I’ll have her, but I will not keep her long”
- soliloquy
25
PACINO 2/2
gender roles
IS
“she’s young, she has no husband, basically she has no future”
- hyperbole
- Seen as an exaggeration within modern society, but comments on the values of Elizabethan era, in the role of women.
26
GENDER ROLES TEXT
- Shakespeare represents women as a voice of morality and reason, whilst adhering to the traditional roles of the time, whereas Pacino depicts women as both liberated and marginalised, to appeal to the context of 3rd wave feminism.
- The women act as a display of the result of destruction when order is broken
- Shakespeare provides them with prophetic abilities, but their expression is limited due to the constraints of the Elizabethan context
27
RICH 3 1/4
Evil
VIAD
“villains set down the corpse… or by heavens I’ll make a corpse of him that disobeys”
- religious allusions
- vivid imagery
- hyperbole
- even at the time of mourning, we see the extremes of Richard’s evil and his lack of humanity – utilises religion as a tool of manipulation.
28
RICH 3 2/4
Evil
VIAD
“I clothe my naked villainy… and seem a saint when most I play the devil”
- allegory
- metaphor
- religious allusion
- allows for recognition of Machiavellian qualities, as he metaphorically compares himself to the devil
29
RICH 3 3/4
Evil
VIAW
“A man that loves not me, nor none of you”
- repetition of ‘nor
- reinforces the mass elements of evil within Richard’s intentions, from someone who has been affected by him.
- Elizabeth
30
RICH 3 4/4
evil
VIAD
“deformed, unfinished, sent before my time”
- soliloquy
- tricolon
- cumulative listing
- within Elizabethan society, these characteristics would have justified the root of his evil, whereas Pacino’s context sees it as an addition to his evil or an area of pity.
31
PACINO 1/2
human frailty and weakness
IF
- Interjection
- close-up
- cut away
- Pacino heightening Anne’s weakness; she is vulnerable and looking for someone to save her – reminds audience that there will be consequences for this
32
ACADEMIC 2/2
human frailty and weakness
nobody can love the King beyond the degree of their own egoism or their own goodness”
- mid shot
- reflective language
- shows everyone is weak to an extent, when they reach this point they find strength, prompting them to leave him.
- Highlight’s Richard’s vulnerability in pushing people away and desiring to be more important than anyone else.
33
HUMAN FRAILTY AND WEAKNESS IN THE TEXT
- Pacino and Richard both act as individuals who exploit the vulnerabilities within individuals, to further their personal desires; Richard through his malicious plots and Pacino through his control over the composition of the play and the audience way of thinking.
34
RICHARD III CONTEXT
providentialism - all events controlled by God
- predeterminism
- superstitions; many of the surrealistic elements within the play were believable
- Belief in the divine right of kings (great chain of being) – the monarch was on the throne next to God, any disruption to this would ruin natural order
- Christianity prominent
- it is because of these values that Richard was positioned as the villain, from a direct comparison of these values.
- Kingship; leaders People in power/control Power and tyranny; - powerplays Nature of evil Nature of conscience/reason
- Human nature and the individual Gender and politics '
- Wit and ambition
35
LOOKING FOR RICHARD CONTEXT
secularism - separation from religion
- Reflective of Shakespeare and hrs appeal to contemporary society;
- his relevance Shakespeare as our instructor/teacher
- Evaluation of the play, its structure, characterisation, ideology Language, poetry. verse )
- how it can be read'; Who knows it best? powerplays between characters, actors. directors, academics
- The common person’s frustration and indifference to Shakespeare is a continual motif of the film and one explicit purpose of Looking for Richard is to make Shakespeare ‘accessible’.
- Given this, Pacino plays Richard to us, exploiting our vanities and self-interest in order to retain our attention.
36
RICHARD III FORM
- Protagonist based; foreshadows downfall and Richards characterisation as a Machiavelli
- this is ironic, juxtaposing previous texts and emphasising Richards flaw of a vaulting ambition challenging God’s will
- Challenges traditional narrative conventions and the playwrights role.
- Tragedy = depicts the downfall of the protagonist because of his hamartia (flaws).
- “Depicts God’s retribution to those who challenge his will through Richard’s downfall”
- Play as propaganda and debate Chronological,
- linear structure Hybridity of play: tragedy and history; horror, comedy, melodrama.
37
LOOKING FOR RICHARD FORM
- Docudrama; filmed in a documentary style, adheres to Pacino’s purpose of creating a greater appreciation of Shakespeare’s work”
- comments on the truth of society and humanity
- Post-modern structure = casting choices, on-street/academic interviews, vox pop, dress rehearsals, screen reading.
- Text of discovery' and 'persuasion';
- Propaganda for Shakespeare
- Non-linear structure; insertions/intercuts cuts
- Hybridity of documentary and dramatic performance; is it 'art house'?
- Film as popular entertainment
