LEAP 12 ppr2 quote flashcards

yeah

“prove a…”

“prove a lover” “prove a villain” soliloquy, juxtaposition, foreshadowing

“the G that…

“the G that the murderer shall be” ironically twisting prophecy

“you mean, to bear…”

“you mean, to bear me, not to bear with me… because i am little, like an ape, he thinks that you should bear me on your shoulders.” 

richard’s physiognomy “def

“deform’d, unfinish’d” 

vice character 

 “a formal Vice, Iniquity,”

• embody religious determinism

• theatrical embodiment of evil in morality plays

• juxatposed w/ three marys, who are moral foils

a foul lump

“a foul lump of deformity”

• elizabethan belief of physiognomy

• personifying metaphysical evil

  • to highlight the Yorks’ illegitimacy

  • align richard w/ divine disorder

“we should speak like…

“we should speak like shakespeare… if we were taught to feel, we wouldn’t be so violent”

• vox pops 

• low angled shot

• pacino affirming in the background 

• aim to democratise shakespeare

“they don’t.. and quick cuts

“they don’t go to galleries” ,

• exposes british elitism

• Joh Gielgud

quick cuts between barbara everett and actors

• highlight disconnect between british scholars and contemporary american performance

“he can move…

“he can move around. He can manoeuvre”

• shakespeare’s cultural ideas into NYC pop culture

• relativist cultural truths

“gathering

richard’s political council as a “gathering of dons”

• fusing theatrical convention w/ hollywood

• intertextual reference

• reclaim power thru american pop culture

“real evil…

“real evils of her situation”

• authorial intrusion

“power of having…

“power of having rather too much her own way, and a disposition to think a little too well of herself”

• satire 

• imply myopic unawareness of privilege 

• Pinnacle of 19th century social hierarchy 

“mildness in temper”

“mildness in temper… hardly allowed her to impose any restraint”

• emma lacks experience of genuine friendship 

• used to unablanced with superiority, control 

“exactly the young

“exactly the young friend she wanted… exactly the something which her home required… a sentiment,” 

• anaphora of exactly shows delusional objectification of harriet

• free indirect discourse allows to keep distance, creates irony in “notice her” later

“notice her,,

“notice her” “improve her” into “good society”

• epistrophe

• reveals ironic truth of her classist sense of superiority

“the very few

“the very few hundred pounds she inherited form her father made independence impossible”

• jane’s lack of financial independence

“worthy

“worthy abilities”

• rely on these to be an eligible spouse 

“ability” of pianoforte

• symbol of wealth and class

• jane is “superior”

• satirical comparison challenges Emma’s vanity

“handsome, cl

“handsome clever and rich” 

• tricolon

• emma’s rich!

“neither young.. “ and two others “civil, generally

“neither young handsome nor rich” , “civil and humble” “generally liked” 

• antithetical circumstance

• direct inversion of emma

“all the horror of being

“all the horror of being in danger of falling in with the second and third rate of highbury”

• hyperbole

• outcome of meeting the Bates’

“mr knightley, in fact 

“mr knightley in fact was one of the few people who could see faults in emma woodhouse, and the only one who ever told her of them,” 

• authorial intrusion

• he’s an older male

• things about her environment

the personified “vanity

“vanity” of her actions are “woeking on harriet’s weak head” to produce “every sort of mischief”

• personification

• didactic 

• inform her of consequences of manipulations

“how could she be

“how could she be so unfeling… to a woman of her character, age, and situation?” 

• rhetorical Q

• tricolon char age sit

• critique of lack of empathy

“how inconsiderate, how 

“how inconsiderate, how irrational, how unfeeling had been her conduct!” 

• accumulation 

• recognition of immaturity

• bildungroman shift

despair and die” with that of Richmond to “live and flourish,”

Juxtaposition Epistrophe  Align richard with devilish in  Align richmond with christian virtue

 “unites the white rose and the red rose,”

• Symbolises yorks and lancasters (lancasters=white york=red)

• Highlight reinstatement of peace under tudor rule

, Pacino omits the political and spiritual ‘ghost’ element of the scene, replacing it with close-up and Dutch angle shots of Pacino’s tormented facial expressions

• Close up shot 

• Dutch angle shot 

• Portray psychological anguish, consequences of monomania

“suspect all the people around him,”

Pacino’s reflexive commentary

montage of the people he’d killed and foreshadowing vision of his death at Bosworth Field accumulate to portray his overwhelming guil

• Foreshadowing

• Montage 

• Accumulate 

• Aligns with modern ideal - trauma infiltrates subconscious, denies solace

1. “Richard has let the pursuit of power totally corrupt him… he is alienated from his body and self.” 

Kimball’s social commentary

 filmic blending of the nightmare-ridden night with the morning battle

Symbolisation of lack of sleep over guilt

cuts between filmed performance and documentary commentary, with an overlaid voiceover that tells us “just how bad he feels about the peacetime world he now finds himself in”

• Film cuts, hybridisation of form (performance/docu) 

• Voiceover 

• Secular discussion of richard’s discontent and desire for power 

• Offers it as a psychological response to physical inadequacy

accumulation of quick-cut historical snapshots, combining it with a 

voiceover denoting him as a victim who was “cheated of feature” to be “a hunchback… deformed.”

• Accumulation

• Quick-cutting

• Voiceover 

• Emphasises the dehumanisation he had 

• Remembered by critics as “hunchback” not human 

• Sympathy

“bod[ies] forth, dramatically, visually, metaphorically,” richard’s psyche

Sympathy, makes more apparent

“I am not the king. I wanna be the king. It’s that simple.”

• Offer gaze shot 

• First-person perspective on richard 

• Humanising him by simplifying motivations

“Men of sense do not want silly wives.. (Mr. Elton) knows the value of a good income as well as anybody.”

• Warning emma that mr elton’s not interested

• Condescending tone -> harriet is “silly” 

• Shows his insight into reality - harriet lacks “value” of status and “fortune” to be a highclass wife 

“How she could have been so deceived! -… She had taken up the idea.. and made everything bend to it”

• Fragmentation (asyndeton?)

• Free indirect discourse 

• Her realisation after mr elton’s proposal

“made everything bend” to her bias and fantasies.

Metaphor

"You will be limited as to number, only three at once.”

She mocks miss bates’ loquacious nature

“agitated, mortified, grieved”

• Mr knightley’s subsequent remonstrance catalyses this anagnorisis 

• Accumulation

• Tricolon

• Indicates emotional distress as she grows in self-awareness

"Mr. Knightley must marry no one but herself!”

• Exclamation of epiphany 

• Free indirect discourse 

• Fulfils bildungsroman and romance plots