Over a period of sixty years, between 1936 and 1996, there were numerous filmed versions of Shakespeare’s Romeo and Juliet, but four in particular were made for and obtained a worldwide commercial release. George Cukor’s lavish production of 1936 with Norma Shearer as Juliet was the first feature length, big budget, ‘talkie’ of Shakespeare’s play to be made by a major studio and aimed at the cinema going public. Shearer remains, to this day, the only actress of the modern age who was a major film star when cast in the role of Juliet. In direct contrast to this, Renato Castellani’s Anglo Italian neo-realist, retrospective 1954 adaptation featured an unknown Susan Shentall, who had never acted before filming and, on completion of the film, retired and never acted again. Franco Zeffirrelli’s sweeping 1968 production with Olivia Hussey as Juliet was a worldwide commercial success and is still revered by many as being the authoritative film experience of the play. Baz Luhrmann’s1996 version, with Claire Danes playing opposite Leonardo DiCaprio, was initially decried as an affront to Shakespeare’s masterpiece and the director was accused of sacrificing the text for a highly stylised and bombastic shallow content. It is only recently that this film has been viewed by critics and academics alike in a more sympathetic and positive manner. These films, taken individually, present to us a particular performance of the ‘Juliet’ of Shakespeare’s text; but in addition to this they allow us a comparative study of the portrayal of Juliet as a celluloid reflection of the idealised woman shaped by the progressive demands of the contemporary phallocentric society in the western world. Patricia White examined this reflection theory in Feminism and Film and, in turn, referred to the studies of Molly Haskell and Marjorie Rosen in the early 1970s, and quoted them on the basis that film ‘reflects social reality, that depictions of women in film mirror how society treats women, that these depictions are distortions of how women ‘“really are” and what they “really want” ’(White 118). The theory explores the supposition that women are repeatedly and systematically portrayed in a catalogue of images that compels the viewer to see and accept them in a typology of roles which, according to White, reinforces the phallocentric ideology of women as an array of ‘virgins, vamps, victims, suffering mothers, child women and sex kittens’(White 118). A question that therefore arises and which is central to this thesis is how, specifically, has Juliet been portrayed in film? Has the Juliet of the screen been nothing more than an object of visual stimulation, an object of the scopophilic gaze and male sexual fantasy? If this is the case, how does this vary in each of the filmed versions listed? We must also consider how Juliet exists in relation to other characters in the play beyond her direct involvement with Romeo. Juliet’s role is pivotal within the play even though she does not have the most lines. She has a direct influence on Mercutio and his relationship to Romeo, even though Juliet and Mercutio fail to exchange a single line of dialogue in the entire play. Juliet’s relationship with Romeo is altered dramatically in the aftermath of Mercutio’s death. Juliet’s life is also influenced by her relationships with others such as the Nurse and Friar Laurence, each of whom will abandon her at some point in the play. How are these relationships played and interpreted in each of the films in question? One cannot write extensively of Juliet if one limits oneself to writing exclusively of her. Each of these characters and how they are portrayed needs also to be examined. So too must the directors, all male, be examined in some detail. How much do they alter the Juliet of Shakespeare’s text and for what purpose?

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Typescript (photocopy). / Digitized by Kansas Correctional Industries

Literary and feminist theory have recently begun to recognize William Shakespeare's character of Juliet as a possible feminist heroine, but communicating this interpretation on film will be complicated. Not only will the film need to deal with the issues of adaptation that come with moving any play onto film, but the finished product will also need to avoid the objectification of the female form. An investigation of literary theory, adaptation theory, and feminist film theory reveals that, although this is a formidable task, the original text offers enough power to overcome any obstacle of communication. Once the earlier literary criticism of A. C. Bradley gives way to feminist literary theory which offers a more empowering interpretation of the character of Juliet, it seems clear that this character could be a powerful cinematic heroine. At this point, it becomes relevant to acknowledge the problems involved in the transfer of text to cinema and the adaptation theories of Andre Bazin, Susan Sontag, and others become applicable. Adding further dimension to the film discussion is Laura Mulvey's theory of "the masculine gaze" as well as Tania Modleski's theories on feminism as it applies to mass culture and audience interpretation. The theoretical discussion suggests a unique combination of theories with which to investigate the three best-known Romeo and Juliet adaptations (George Cukor, 1936; Franco Zeffirelli, 1968; Baz Luhrmann, 1996) Each of these films uses the medium of cinema to communicate a specific interpretation of the original text. Although none emphasize a strong, decisive heroine, they each present different options for portraying the character of Juliet and offer valuable insight in their moments of oppression as well as empowerment. Applying this blend of theories to the specific films leads to the idea that future filmmakers could take all the theories into consideration and learn from these previous works to produce a main-stream adaptation of Romeo and Juliet which emphasizes the strength and agency of the main female character. The power of Shakespeare's Juliet is a prolific area of the text which, when explored on screen, has the ability to utilize film as an ally to unite feminist theory with popular culture. / Graduation date: 2001

This study proposes to demonstrate that the Platonic doctrine of the ennobling power of love is of paramount importance in a number of Shakespeare's plays. This study has been limited to the three love tragedies because in them the ennobling power of love is a major theme, affecting both the characters and the plot structure. The plays to be studied are Romeo and Juliet, Troilus and Cressida, and Antony and Cleopatra.

The purpose of this thesis is to recount the creative process used when designing the costumes for Temple University’s Spring 2018 production of Romeo and Juliet. This process begins with a thorough reading of the play and moves through the phases of research, planning, and implementation of the author’s designs. Subjects discussed include historical fashion of the early Italian Renaissance, the challenges of working with costume rental companies, and the collaborative nature of costume construction. The author will reflect on the struggles and successes of her contribution to the production. / Theater

A presente pesquisa explora uma adaptação amadora em contexto escolar de Romeu e Julieta para as redes sociais desenvolvida em comunidades em risco na cidade de Bagé, Rio Grande do Sul, na região de fronteira entre Brasil e Uruguai. O objeto de estudo é a adaptação multiplataforma Romeus & Julietas, uma reinterpretação da história dos jovens amantes em ambiente digital. Cada ato da peça é mostrado ou contado em uma plataforma diferente (através de textos, imagens e sons) e o leitor navega a adaptação preenchendo lacunas e reconhecendo as referências aos personagens arquetípicos e, assim, tecendo a história. A hipótese dessa pesquisa é que a adaptação pode ser uma ferramenta para aproximar a obra de Shakespeare do público e que as mídias digitais podem ser usadas como instrumentos para possibilitar a criação de adaptações amadoras. O objetivo dessa pesquisa é descrever como a adaptação multiplataforma Romeus & Julietas é apresentada e interpretar e explicar as escolhas adaptativas focando nas questões provocadas pela própria adaptação. O objeto de estudo exigiu uma abordagem metodológica multidisciplinar, que foi ajustada conforme o propósito desse trabalho. A pesquisa iniciou através de uma perspectiva descritiva para que fossem geradas ideias e, depois disso, a abordagem formal e cultural foram integradas. Por fim, a adaptação multiplataforma Romeus & Julietas apresenta um comentário crítico contextualizado e aborda a história dos amantes arquetípicos criativamente. / The present research explores a student amateur adaptation of Romeo & Juliet to social networks developed by at risk communities in Bagé, a city in the border region of Brazil and Uruguay. The object of study is the multiplatform adaptation Romeus & Julietas, which is a reinterpretation of the young lovers’ story in a digital environment. Each act of the play is shown or told in a different platform (through texts, images and sounds) and the reader needs to navigate through the adaptation filling in the gaps, recognizing references to the archetypical characters, and connecting the dots between the parts of the story. This dissertation raises the hypothesis that adaptation might be a tool to make Shakespeare’s work more accessible to people and that digital media can be used as an instrument to make an amateur adaptation happen. The objective of this dissertation is to describe how the multiplatform adaptation Romeus & Julietas is presented and to interpret and explain the adaptational choices by focusing on issues raised and provoked by the adaptation itself. The object of study required multi-disciplinary methodological approaches, which were adapted to the purpose of this research. The research started from a descriptive perspective in order to generate ideas and integrate formal and cultural approaches. In conclusion, the multiplatform adaptation Romeus & Julietas provides a contextualized critical commentary and accesses the star-crossed lovers’ archetype creatively.

<p>Den här uppsatsens syfte var att, ur ett genusperspektiv, undersöka vilka möjligheter MOT i Afghanistan har för att arbeta mot målet i FN:s resolution 1325. Min fråga var hur arbetet påverkades om teamen bestod av endast män, endast kvinnor respektive både män och kvinnor.</p><p>Uppsatsen är indelad i tre delar. I den första delen förklaras centrala begrepp för att ge en förståelse för kommande text. I den andra delen diskuteras hur MOT under FS11 i Afghanistan arbetade med resolutionen och i den tredje delen ges förslag på hur kvinnliga och manliga soldater i ett MOT borde arbeta för att, på bästa sätt, uppnå målet i resolution 1325. Undersökningen är baserad på litteratur, rapporter och intervjuer.</p><p>Resultatet av undersökningen visar att både kvinnliga och manliga soldater kunde arbeta enligt resolutionen men med olika resultat. Det var enklare för kvinnliga soldater att nå ut till de lokala kvinnorna samtidigt som de enbart genom sin närvaro gav missionen en kvinnlig infallsvinkel. Manliga soldater hade svårare att skapa lika starka kontakter med de lokala kvinnorna och avsaknaden av kvinnor i teamet gav ett hårdare intryck.</p><p>Min slutsats är att MOT innehållande både manliga och kvinnliga soldater är de mest effektiva. Ett blandat team ökar möjligheterna att inhämta och sprida information, visar lokalbefolkningen att män och kvinnor kan arbeta tillsammans och ger chefen möjlighet att lösa uppgifter i ett bredare spektrum. MOT med endast män eller endast kvinnor kan också arbeta enligt resolutionen men uppnår ett sämre resultat.</p> / <p>The purpose of this essay was to examine what chances the MOTs´ in Afghanistan had in working towards the objective in the UN resolution 1325. My question was how the work was affected when the teams consisted of only men, only women and a mix of men and women.</p><p>The essay is divided in three parts. The first part explains and defines the concept of the UN resolution 1325. The second part examines the MOTs´ work according to the resolution and the third part suggests how male and female soldiers can work in order to achieve the objective stated in the resolution. The examination is based on literature, reports and interviews.</p><p>The result of the examination shows that both male and female soldiers were able to work according to the resolution but with different results. It was easier for female soldiers to reach the local women and the female soldiers´ presence gave the mission a female approach. For male soldiers it was more difficult to establish a contact with the local women and the lack of women in the team made the team seem harsher.</p><p>My conclusion is that MOTs´s with both male and female soldiers are the most efficient ones. A mixed team increases the opportunities to gather and spread information, shows the local population that men and women can work together and gives the commander an opportunity to perform his tasks in a wider spectrum.</p>

Den här uppsatsens syfte var att, ur ett genusperspektiv, undersöka vilka möjligheter MOT i Afghanistan har för att arbeta mot målet i FN:s resolution 1325. Min fråga var hur arbetet påverkades om teamen bestod av endast män, endast kvinnor respektive både män och kvinnor. Uppsatsen är indelad i tre delar. I den första delen förklaras centrala begrepp för att ge en förståelse för kommande text. I den andra delen diskuteras hur MOT under FS11 i Afghanistan arbetade med resolutionen och i den tredje delen ges förslag på hur kvinnliga och manliga soldater i ett MOT borde arbeta för att, på bästa sätt, uppnå målet i resolution 1325. Undersökningen är baserad på litteratur, rapporter och intervjuer. Resultatet av undersökningen visar att både kvinnliga och manliga soldater kunde arbeta enligt resolutionen men med olika resultat. Det var enklare för kvinnliga soldater att nå ut till de lokala kvinnorna samtidigt som de enbart genom sin närvaro gav missionen en kvinnlig infallsvinkel. Manliga soldater hade svårare att skapa lika starka kontakter med de lokala kvinnorna och avsaknaden av kvinnor i teamet gav ett hårdare intryck. Min slutsats är att MOT innehållande både manliga och kvinnliga soldater är de mest effektiva. Ett blandat team ökar möjligheterna att inhämta och sprida information, visar lokalbefolkningen att män och kvinnor kan arbeta tillsammans och ger chefen möjlighet att lösa uppgifter i ett bredare spektrum. MOT med endast män eller endast kvinnor kan också arbeta enligt resolutionen men uppnår ett sämre resultat. / The purpose of this essay was to examine what chances the MOTs´ in Afghanistan had in working towards the objective in the UN resolution 1325. My question was how the work was affected when the teams consisted of only men, only women and a mix of men and women. The essay is divided in three parts. The first part explains and defines the concept of the UN resolution 1325. The second part examines the MOTs´ work according to the resolution and the third part suggests how male and female soldiers can work in order to achieve the objective stated in the resolution. The examination is based on literature, reports and interviews. The result of the examination shows that both male and female soldiers were able to work according to the resolution but with different results. It was easier for female soldiers to reach the local women and the female soldiers´ presence gave the mission a female approach. For male soldiers it was more difficult to establish a contact with the local women and the lack of women in the team made the team seem harsher. My conclusion is that MOTs´s with both male and female soldiers are the most efficient ones. A mixed team increases the opportunities to gather and spread information, shows the local population that men and women can work together and gives the commander an opportunity to perform his tasks in a wider spectrum.