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PARODY AND THE GAS STATION SEQUENCE IN WILLIAM SHAKESPEARE'S ROMEO AND JULIET

Cykman, Avital Grubstein de

Ilha do Desterro, 2017-01, Vol.70 (1), p.177-185 [Periódico revisado por pares]

Florianópolis: Universidade Federal de Santa Catarina, UFSC Centro de Comunicação e Expressão

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  • Título:
    PARODY AND THE GAS STATION SEQUENCE IN WILLIAM SHAKESPEARE'S ROMEO AND JULIET
  • Autor: Cykman, Avital Grubstein de
  • Assuntos: 16th century ; British & Irish literature ; Cameras ; Danes, Claire ; DiCaprio, Leonardo ; English literature ; Film adaptations ; Hypotheses ; LANGUAGE & LINGUISTICS ; LITERATURE, AMERICAN ; LITERATURE, BRITISH ISLES ; Luhrmann, Baz ; Motion picture directors & producers ; Popular culture ; Postmodernism ; Service stations ; Shakespeare plays ; Shakespeare, William (1564-1616) ; Social criticism & satire
  • É parte de: Ilha do Desterro, 2017-01, Vol.70 (1), p.177-185
  • Descrição: [...]this article examines act one, scene one with a special attention to the gas station sequence, and analyzes it in the light of scholarly definitions of postmodern parody by Linda Hutcheon, John W Duvall and Douglas Lanier, and of pastiche by Fredric Jameson. [...]the director says in an interview to the Guardian: It's a made-up world comprising twentiethcentury icons ... and these images are there to clarify what's being said, because once you understand it, the power and the beauty of the language works its magic on you. he idea was to find icons that everybody comprehends, that are overtly clear. he hope was that by associating the characters and places with those images the language would be freed from its cage of obscurity. [...]the article examines act one, scene one with special attention to the Gas Station Sequence, and analyzes it in the light of scholarly definitions of postmodern parody by Linda Hutcheon, John W. Duvall, and Douglas Lanier, and of pastiche by Fredric Jameson. [...]the Gas Station Sequence is the one part of the film to which the definitions of parody apply rather fully. According to him, the parody created by lifting classic art out of its original context of art history aids in throwing off the dead end of art history and its belief in eternal values while still maintaining the richness and density of the original (103).
  • Editor: Florianópolis: Universidade Federal de Santa Catarina, UFSC Centro de Comunicação e Expressão
  • Idioma: Inglês;Português
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