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美国俄亥俄州立大学论文代写:军队去打仗

Henry V的原始版本的核心是语音在亨利的心灵他的军队去打仗。在两改编,引人注目的是如何在不同的戏是导演。奥利维尔选择简单地说。照相机是固定的,没有额外的元素的演讲。话是说在一个更华丽的方式,也许对丘吉尔坚忍和高贵的演说的时候,是谁给了在任何时候都有很强的领导能力和控制的印象。另一方面,布拉纳的讲话是在一个更激情的方式交付。布拉纳波纹管的线,和语音的相机是在不断的运动中,这更接近于实际战斗的行动和对战争暴行的领导者。同时,在奥利维尔的讲话中,配乐是明显缺席,这一方面凸显了正说的话的重要性,但另一方面,不添加任何额外的戏剧性的影响到现场。布拉纳的演讲几乎与奥利维尔的作品直接对立,把演讲定为激动人心的管弦乐曲,随着演讲的发展,几乎呼应了演讲的激励和鼓舞人心的效果,铜管乐队也加入了铜管乐器。其结果是,布拉纳使演讲更容易接近,也许是以牺牲莎士比亚的语言本身为代价的。因此,什么在它的肮脏的写照游戏收益和战争的内脏影响第二适应,它可能失去在贬谪的简单,在更多的表现主义风格的戏剧电影系传递到第二的位置。

美国俄亥俄州立大学论文代写:军队去打仗

Central to the original version of Henry V is the speech where Henry psyches his army up to go into battle. In the two adaptations, it is striking how differently the play is directed. Olivier chooses simply to speak. The camera is stationary and there is no additional elements to the speech. The words are uttered in a much more florid way, perhaps emulating the stoical and noble speeches of Churchill at the time, who gave the impression of strong leadership and control at all times. On the other hand, Branagh’s speech is delivered in a much more passionate way. Branagh bellows the lines, and during the speech the camera is in constant movement, suggesting a leader much closer to the actual action of the battle and of the brutalities of the war. Also, in Olivier’s speech, the soundtrack remains conspicuously absent, which, on the one hand highlights the importancy of the words being spoken, but on the other hand, doesn’t add any additional dramatic impact to the scene. Branagh’s speech, in almost direct opposition to the production by Olivier, sets the speech to a rousing orchestral soundtrack, and as the speech develops, almost to echo the motivating and rousing impact of the speech, brass elements are added to the orchestra. The result is that Branagh makes the speech more immediately accessible, perhaps at the expense of Shakespeare’s language itself. Thus, what the second adaptation of the play gains in its portrayal of the dirtiness and of the visceral impact of war, it perhaps loses in relegating the simple, theatrical delivery of the lines to second place over a more expressionist style of cinematography.

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