Pacing creatively reshapes Shakespearean depiction of Richards quest for rower with postmodern ambiguity and secular beliefs to unchanging elements of human nature and the continuing struggle to discriminate between appearance and reality. The interweaving of Shakespeare and cinematography celebrates the power of art to illuminate humanists continuing preoccupation with human frailty and to both reflect and shape the dominant values of different contexts.

Reflecting Elizabethan moral absolutes, Shakespeare acknowledges that a capacity for deception, manipulation and the quest for power is central to the human condition and clearly delineates the complex nature of evil In the character of Richard. Shakespeare dramatically portrays Richards villainous intentions and motivations to the Elizabethan audience in the opening soliloquy announcing- “he is made villain” to “usurp” the throne like a symbolic “usurping boar” being physically and morally “deformed” by his craving for power. Abstinently, Richard uses his guises as a tool for deception; he is a passionate lover desperately ;wooing Lady Anne” yet a conniving murderer killing her husband, also ironically appearing to be a “loyal loving brother” by eradicating “George” himself. Shakespeare then reaffirms the exults of humans corruption and Insatiability for power to the Elizabethan audience as he “proves a villain” must “fall prey to his” own “subtle and treacherous” actions.

When Richard gains throne, he loses control over his multifaceted mind of “thousand several tongues” and Is entrapped by the disbelief and realization of his own inhumanity in questioning his conscience “how dost thou afflict me? ” Conclusively, he requests to “bind up his wounds”, his self-inflicted paranoia for power Is then ironically merged to his desperate “command” to exchange anything, even his “kingdom for a horse” just to live.

Pocono’s postmodern context film similarly shows the polarity between appearance and reality remains, but the text Is rather underpinned by the secular and individualistic values of the late twentieth century. In stark contrast to Shakespearean moral condemnation of Richards villainy, AY Pacing cut from costume choice scenes, to rehearsal and to interviews on the street or historical setting rather revel in Richards duplicity. The fluidity of these scene fragmentation’s and Pocono’s humorous opening soliloquy reprising many non-edited retakes- diminishes Richards deceit

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The film examines how the clear moral standards of the bygone Elizabethan age are felt to be lacking in Pocono’s context with Shakespearean “Language” “making no tofu Shakespeare is still applicable in modern context by metaphorically “tuning up our ears” to the essential truths of humanity embodied in the Shakespearean text. Essentially, life becomes an allegorical “insubstantial pageant” indistinguishable between performance and reality symbolized by “The tempest” Prosper speech opening and closing the film. Thus, with this cyclic structure, Pacing adaptation of

Richard suggests in modern perspective, living is a delusional dream metaphorically “rounded with a sleep” without clear Elizabethan moral standards. The Elizabethan spiritual belief in fate and the divine hierarchy leads Shakespeare to condemn Richards overturning of the royal order and his moral failings by repetitively casting spiritual “repentance” from the ghosts haunting him to “despair and die”. Contextually, this displays the Elizabethan audience “fear for religious judgment” as Richard being a “foul… Academic” religiously alludes him as the fallen angel marking the temptation and fall of humanity. These symbolic contrasts of heaven and hell emphasizes that humans ultimately cannot control fate, which is determined by the divine order. Richard eventually receives divine retribution by falling below human status from the bestial “boar” imagery and further down to a “hellholes” symbolic of death where his power is taken and religious “Judgment” ensues for his deeds.

Textually, the play is a political apology for the Tudor monarchy and thus Richmond must be depicted as a symbolic religious savior where “good angels guard thee”. Ultimately, Richards fall in [the] height of his pride’ and the resounding of Richmond in the dignified cadences of ‘God say amen’ both restore social and political order and reassert the presence of a divinely ordained moral order.

In stark contrast to Shakespearean “lack of sympathy’ given to Richards demise, “Richards fall” in the film rather emphasizes his “alienation from his humanity’ enhanced with somber choral opera music and the exclusion of Richmond triumphant end. Pocono’s utilization of the low angle point of view shots in the final scene as Richard succumbs to the sword of his enemy evokes a somewhat ambivalent modern audience reaction by sympathizing the finality of death instead of the religious focus on Elizabethan Judgment.

Thus, as Christian values are no longer dominant, the film is not portraying the tragedy of the deaths and “ghosts”, but is more focused on the end of “the man… Richards tragedy’ of a “wasted life” on a futile quest for ultimate power. Essentially, Pacing proves Shakespeare is not “merely a work of art” as it resonates to the world across centuries “like a sounding board” mirroring unchanging human nature and perceptions of life and death- regardless of time and context.


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