Film Adaptations of Shakespeare's Plays
ANNOUNCER: Section 3. You will hear two students, Katie and Joe, discussing a presentation in their Film Studies course. First, you have some time to look at questions 21 to 24. Now listen carefully and answer questions 21 to 24.
KATIE: Joe, you know I'm giving a presentatio
in our Film Studies class next week.
JOE: Yes.
KATIE: Could we talk about it? I’d like to get someone else's opinio
.
JOE: Of course. What are you planning to talk about?
KATIE: It’s about film adaptations of Shakespeare’s plays. I’ve become really interested in the different approaches directors take.
KATIE: I’m going to start with Giannetti, a professor of film and literature. In one of his books, he developed a simple classification system for film adaptations based on how faithful they are to the original work.
JOE: Right.
KATIE: I’ve already made notes about that, so I just need to organise them.
KATIE: After that, I thought I’d ask the class to mention the worst Shakespeare adaptations they’ve seen and explain why. I think that might be more fun than asking about their favourites.
JOE: Yes, I can think of a couple!
KATIE: Next, I want to discuss the work of Rachel Malchow. I found information about her research online, and I was thinking about showing some film clips to illustrate her ideas.
JOE: Do you think you’ll have enough time? It might be difficult to find all the clips you need.
KATIE: You’re probably right. I’ll prepare slides instead, explaining how certain films relate to her ideas. That should also encourage discussio
.
KATIE: After that, I want to explain how certain plays are chosen for adaptation because they relate to the social or political issues of the time when the film is made.
JOE: You mean topics like patriotism or the role of governments?
KATIE: Exactly.
ANNOUNCER: Before you hear the rest of the discussion, you have some time to look at questions 25 to 30. Now listen and answer questions 25 to 30.
KATIE: Finally, I want to talk about a few specific adaptations that show a range of approaches.
KATIE: For example, the Japanese film Ra
, which is based on Shakespeare’s King Lear. It’s a very loose adaptatio
that moves the story from 16th-century Britai
to 16th-century Japa
.
JOE: I haven’t seen it.
KATIE: In the film, the king’s daughters become sons, because women in Japan at that time couldn’t inherit the throne.
JOE: You should also mention the 1993 film of Much Ado About Nothing. It’s one of the best Shakespeare films.
KATIE: I agree. Filming it in Italy, where the play is set, helps show what life was like at the time.
KATIE: Then I’ll talk about the 1996 film of Romeo and Juliet, which moves the story into the modern world.
JOE: Yes, the two feuding families become rival business empires, although the characters still speak the original Shakespearean language.
KATIE: At first it sounds strange, but you quickly get used to it.
KATIE: After that, I’ll mention the 1996 Hollywood version of Hamlet. It includes every line of the text, but it’s presented more like an action movie with lots of special effects.
JOE: So it’s more style than substance.
KATIE: Exactly.
KATIE: I’ll also talk about Prospero’s Books, based on The Tempest. It’s stylistically innovative and includes dance, music, animatio
, and live acting.
KATIE: Finally, I’ll mention Looking for Richard. It combines a documentary with scenes from Richard III, exploring how modern audiences connect with Shakespeare.
JOE: That sounds like a great presentation.
ANNOUNCER: That is the end of Section 3. You now have half a minute to check your answers.