time‚ however‚ the author or director of this new media uses dramatic license to alter the play and interpret it according to their target audience and their production. Franco Zeffirelli and Baz Luhrmann‚ both directors‚ took the words and plot of this play into their own hands to create a movie of their own interpretation. Franco Zeffirelli’s 1968 movie interpretation of Romeo and Juliet was more accurate to the actual play than Baz Luhrmann’s 1996 movie because the characters’ personalities were
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separates the lovers from each other?” I inquired. How could the most renowned scene of William Shakespeare’s most popular play be missing? I continued to watch in astonishment as the daring scene developed into a masterpiece. Baz Luhrmann and Franco Zeffirelli both achieved unique interpretations of William Shakespeare’s script which accomplish the chief goal of displaying the extremely passionate love between Romeo and Juliet. The movies were made twenty-nine years apart and had many specific
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unfolds‚ especially in the heroine‚ Juliet. Even more so than the play on paper‚ the play on film has an extremely short time period to effectively develop characters and properly present events as they occur. Two film versions of the play‚ BBC and Franco Zefferelli‚ use differing ways to present the play‚ one in a theatrical small scale manner and one on a movie production scale‚ respectfully. Both versions show a Juliet who grows and changes but Zefferelli shows the change much more naturally and
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Operation Management’s Group Discussion Question 1: Consider the two categories of products that Timbuk2 makes and sells. For the custom messenger bag‚ what are the key competitive dimensions that are driving sales? Are their competitive priorities different for the new laptop bags sourced in China? “Timbuk2 is more than a bag; it is more than a brand…” If you have an opportunity to go to the web site www.timbuk2.com‚ you will find out something… Timbuk2 is so different‚ so unique. I think you
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northern Mexico grow. Francisco Javier Rodríguez was a petty-merchant who owed a lot of debt to customers. Due to that‚ he was not planning on returning to the fair the following year. He wanted to wait to return until he had the necessary means to pay back his debt. Francisco was very knowledgeable of the situation
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Nutritionists ● Correct name of career: Dietitians and Nutritionists ● Education and or training required: ○ bachelor’s degree in dietetics‚ foods and nutrition‚ food service systems management‚ clinical nutrition‚ or a related area. ○ Many dietitians and nutritionists also have advanced degrees. ○ typically receive several hundred hours of supervised training‚ usually in the form of an internship following graduation from college. ○ Programs in Dietetics that allow students to complete
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The Life Cycle Hypothesis Formulated by Franco Modigliani of MIT. 1. The theory basically says that individuals plan their consumption and savings behaviour over the long term with a view of allocating incomes in the best possible way over their entire lifetimes. 2. This implies different marginal propensities to consume out of permanent income‚ transitory income (temporary) and wealth. 3. The basic idea is that individuals will spend the different incomes differently with a view
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bases up in Spain for protection this was also considered a move to support the US against the USSR in the cold war. And also the US wanted bases in the Mediterranean next to the strait of Gibraltar. In the end things started to clear up for Spain and Franco and towards the end of his regime he started to ease up on the censorship he had and the propaganda that he was holding in the
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recognisable lines ever uttered on a stage — ‘O Romeo‚ Romeo! wherefore art thou Romeo?’. The play is a masterpiece and any director who wishes to bring it to the silver screen certainly benefits from the strength of the existing material. So why is it that Franco Zeffirelli’s 1968 screen version of Romeo and Juliet doesn’t quite hit the mark? A film interpretation of this work of genius should have the audience gasping in shock‚ balancing precariously on the edge of their seats‚ laughing and crying (sometimes
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In his 1968 interpretation of Romeo and Juliet‚ Franco Zeffirelli seems determined to defy every possible public conception of the elements of a Shakespeare movie; essentially‚ it seems to be Shakespeare distilled for public consumption. This is not to imply that Zeffirelli is not authentic in his interpretation of the text and drama; rather‚ he is‚ in the truest sense‚ staging an adaptation of the ancient tragedy to the modern medium of film. Far from altering or rejecting the Elizabethan conventions
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