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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.6
- 수록면
- 335 - 349 (15page)
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초록· 키워드
오류제보하기
This study compares Franco Zeffirelli's Romeo and Juliet and Baz Luhrmann's William Shakespeare's Romeo+Juliet to examine how each movie deals with the play's main themes of love, generation gap, social environment. and fate.
Zeffirelli's movie convincingly and movingly portrays the joy and beauty of the teenagers' passionate love, which is described here as charmingly fresh and pure, with touching details and rich eroticism. This movie also emphasizes the romantic purity and moral superiority of the young generation over the worldly-minded older generation. Furthermore, this movie reveals an optimistic view that the young protagonists' love and their sacrificial deaths will bring peace and order to Verona. And the circle images that often appear in the movie suggest that youthful love, despite its transitoriness, will be reborn generation after generation.
On the other hand, Luhrmann's movie focuses on the corrupt social environment as well as the tyranny of Fate, both of which constantly threaten to destroy the protagonists' love. This movie portrays an extremely pessimistic view that romantic love is merely an old-fashioned ideal and therefore no longer possible in the depraved contemporary world. The older generation in this movie is much more perverted and intimidating than in Zeffirelli's movie; indeed, they represent the chaotic modem society in which all kinds of iniquities and crimes are prevalent. Not only the older generation but also blind (or malignant) Fate ruthlessly frustrates the protagonists' love and finally destroys them. In their attempts to escape from such threats and dangers, the two lovers often find their temporary refuges in various types of water-an aquarium, a swimming pool, a sea of candles and blue neon signs, etc. But this water motif also indicates the movie's pessimism, for the watery world only provides a temporary relief and ultimately leads the protagonists to death.
Thus Zeffirelli's movie, which focuses on praising youthful love, is closer to a romantic tragedy, whereas Luhrmann's movie, which stresses the ills of the corrupt society and the cruelty of Fate, tends to be a social problem drama or a tragedy of fate. To compare both merits and demerits of the two movies, Zeffirelli's movie vividly and movingly reconstructs Shakespeare's timeless love story, but it fails to raise any deeper issues of contemporary society or of human destiny. On the other hand, Luhrmann's movie provides a sharp insight on the problems of the modern world or the tragic destiny of mankind, yet this insight causes the glory of love, the major theme of Shakespeare's Romeo and Juliet, to be thrust aside. Zeffirelli's movie is faithful to Shakespeare's play, whereas Luhrmann's movie departs from both the setting and the message of the text in order to experiment with it for the director's own purpose. Both approaches are considered equally worthwhile because each attempt can increase the value of the Shakespearean text by enhancing its universality and modem relevance.
Zeffirelli's movie convincingly and movingly portrays the joy and beauty of the teenagers' passionate love, which is described here as charmingly fresh and pure, with touching details and rich eroticism. This movie also emphasizes the romantic purity and moral superiority of the young generation over the worldly-minded older generation. Furthermore, this movie reveals an optimistic view that the young protagonists' love and their sacrificial deaths will bring peace and order to Verona. And the circle images that often appear in the movie suggest that youthful love, despite its transitoriness, will be reborn generation after generation.
On the other hand, Luhrmann's movie focuses on the corrupt social environment as well as the tyranny of Fate, both of which constantly threaten to destroy the protagonists' love. This movie portrays an extremely pessimistic view that romantic love is merely an old-fashioned ideal and therefore no longer possible in the depraved contemporary world. The older generation in this movie is much more perverted and intimidating than in Zeffirelli's movie; indeed, they represent the chaotic modem society in which all kinds of iniquities and crimes are prevalent. Not only the older generation but also blind (or malignant) Fate ruthlessly frustrates the protagonists' love and finally destroys them. In their attempts to escape from such threats and dangers, the two lovers often find their temporary refuges in various types of water-an aquarium, a swimming pool, a sea of candles and blue neon signs, etc. But this water motif also indicates the movie's pessimism, for the watery world only provides a temporary relief and ultimately leads the protagonists to death.
Thus Zeffirelli's movie, which focuses on praising youthful love, is closer to a romantic tragedy, whereas Luhrmann's movie, which stresses the ills of the corrupt society and the cruelty of Fate, tends to be a social problem drama or a tragedy of fate. To compare both merits and demerits of the two movies, Zeffirelli's movie vividly and movingly reconstructs Shakespeare's timeless love story, but it fails to raise any deeper issues of contemporary society or of human destiny. On the other hand, Luhrmann's movie provides a sharp insight on the problems of the modern world or the tragic destiny of mankind, yet this insight causes the glory of love, the major theme of Shakespeare's Romeo and Juliet, to be thrust aside. Zeffirelli's movie is faithful to Shakespeare's play, whereas Luhrmann's movie departs from both the setting and the message of the text in order to experiment with it for the director's own purpose. Both approaches are considered equally worthwhile because each attempt can increase the value of the Shakespearean text by enhancing its universality and modem relevance.
목차
Ⅰ. 머리말
Ⅱ. 제피렐리의 영화
Ⅲ. 루어만의 영화
Ⅳ. 맺음말
인용문헌
Abstract
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