A Midsummer Night S Dream

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DUDLEY ANDREW: CONCEPTS IN FILM THEORY
A midsummer Night’s Dream
An outstanding extension of Dudley Andrew’s memorable, “The Major Film Theories”, takes a keen look at the conceptions in the film study which include adaptation, representation, identification, narrative structure, identification, figuration, signification evaluation and interpretation. Starting from the introductory part, Andrew builds a general overview of the current state of the film industry by giving his own views on every concept, and relating them. He goes ahead to give illustrations of the theories that pertains to perceptual psychology and structuralism, hermeneutics and genre observation, and semiotics and psychoanalysis. He avails distinctive studies on these topics thereby enabling readers to have the background they may want to enhance their comprehension of the film and of art.
Taking William Shakespeare’s comedy play, “A midsummer Night’s Dream”, as stated by Andrew it is clear that adaptation will win the audience by virtue of this borrowed title or subject and it seeks to achieve a specific goal. A midsummer Night’s Dream is a cheerful comedy written by Shakespeare between 1590 and 1596 and it describes the romantic getaway of four young Athenian lovebirds who went astray on a midsummer night in a forest ruled by Fairies. The dreamlike occurrences which happened in captivated wood are framed by court scenes controlled by Theseus, who is the ruler of Athens. There is also another cluster of characters chosen as rustics, artisans, or mechanicals who are led by Bottom the weaver, and inhibit the play creating its comic effects.
Shakespeare tried to show the meaning and nature of love and purpose of art and imagination, the understanding of dramatic elements and the function of perception in the play. This is represented in the symbolic form and Andrew states that all these forms of borrowing find their opposite towards adaptation, which he referred to as, intersecting. These play showed greatly its dependence on symbols and mythic patterns of civilization as described by Andrew Dudley. The play exhibit a form of adaptation where the audience is expected to be enjoying basking in a certain pre-established presence calling for new or especially most powerful piece of popular work. I tend to agree with Andrew that adaptation is a very important aspect of a play as seen in “A midsummer Night’s Dream” where there is prior concepts of a character, place, event, or situations involved. This play shows clearly that our consciousness filters the world according to the shape of its ideas since every event that occurs in the play is related to some prior trapped unquestioned in the personal or public system of experience. This means that the play is a representational as it adapts prior concepts other than responding to reality or to its own inner version. Therefore, I agree with Andrew that a strong sense of adaptation is the adoption of the meaning of the prior text.
To sum up you will agree with me that filmmaking out of prior text is as old as the machinery of cinema itself as this play was made originally from the earlier text as indicated by the title itself.