Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Boo...Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Books （1991） directed by Peter Greenaway, and Shakespeare in Love （1998） directed by John Madden, referenced to Gnomeo and Juliet （2011）, a cartoon animation. Both films of The Tempest show visual spectacle and technology images by CGI （Computer-Generated Cinematic Graphic Image） effect. The author argues the power struggle between Caliban and Prospero played by actress Helen Mirren, changes from post-colonial discourse in the male domain, to be more about the intellect contest between man and woman, and Taymor＇s adaptation is more focused on maternity than actor John Gielgud＇s on politics. Inter-textuality exists in Shakespeare in Love and Shakespeare＇s Romeo and Juliet, and Twelfth Night. Unlike the tragedy in the films, Gnomeo and Juliet ends happily as we can expect from most musicals and fairy tales. The inter-textuality of literature and art, dramatic plays, historical events, and biographical sketches are delicately intertwined. Media represent Shakespeare applied by Jean Baudrillard＇s ＂simulacra＂ and Richard Schechner＇s ＂simulation＂ to present the liminal threshold between reality, role-playing, and theatricality. Shakespeare represented by media rise to visual narratives.展开更多
Clothing is a kind of the clothing design activity based on the emotional factors and the concrete understandings. Clothing is not only a kind of the life necessities, but also the interpretation and expression of our...Clothing is a kind of the clothing design activity based on the emotional factors and the concrete understandings. Clothing is not only a kind of the life necessities, but also the interpretation and expression of our own temperament and personalities. Of course, the best effects of the entire costume design activity can be achieved only when the costume itself is matched with the person＇s identity. In this paper, from the analysis of the influence and the relationship between the clothing emotion and the fashion design activities, combined with the analysis of the specific characteristics of the groups of the modern occupational females, the author explores the modem women＇s specific needs in the clothing emotional design, and explores the specific ideas of the modern professional women＇s clothing emotional design.展开更多
文摘Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Books （1991） directed by Peter Greenaway, and Shakespeare in Love （1998） directed by John Madden, referenced to Gnomeo and Juliet （2011）, a cartoon animation. Both films of The Tempest show visual spectacle and technology images by CGI （Computer-Generated Cinematic Graphic Image） effect. The author argues the power struggle between Caliban and Prospero played by actress Helen Mirren, changes from post-colonial discourse in the male domain, to be more about the intellect contest between man and woman, and Taymor＇s adaptation is more focused on maternity than actor John Gielgud＇s on politics. Inter-textuality exists in Shakespeare in Love and Shakespeare＇s Romeo and Juliet, and Twelfth Night. Unlike the tragedy in the films, Gnomeo and Juliet ends happily as we can expect from most musicals and fairy tales. The inter-textuality of literature and art, dramatic plays, historical events, and biographical sketches are delicately intertwined. Media represent Shakespeare applied by Jean Baudrillard＇s ＂simulacra＂ and Richard Schechner＇s ＂simulation＂ to present the liminal threshold between reality, role-playing, and theatricality. Shakespeare represented by media rise to visual narratives.
文摘Clothing is a kind of the clothing design activity based on the emotional factors and the concrete understandings. Clothing is not only a kind of the life necessities, but also the interpretation and expression of our own temperament and personalities. Of course, the best effects of the entire costume design activity can be achieved only when the costume itself is matched with the person＇s identity. In this paper, from the analysis of the influence and the relationship between the clothing emotion and the fashion design activities, combined with the analysis of the specific characteristics of the groups of the modern occupational females, the author explores the modem women＇s specific needs in the clothing emotional design, and explores the specific ideas of the modern professional women＇s clothing emotional design.
