Macbeth. Movies such as The Lion King and Men of Respect are based of Shakespeare plays like
Hamlet and Macbeth. Although some could say that Shakespeare had nothing to do with the plot of these stories, most would argue that Shakespeare’s creative perspective has to do with a lot of
bases …show more content…
Now although the ending of The Lion King is nothing like the tragic ending of Hamlet, that does not deny the fact that they are basically the same plot. High school teacher, Rosemarie
Gavin, explains how difficult it was to explain Hamlet to her student until she realized it was basically the same thing as The Lion King. “My solution to this dilemma came fortuitously after reading John Bradshaw's Homecoming: Reclaiming and Championing Your Inner Child (1990,
New York: Bantam) and viewing Walt Disney's The Lion King (Roger Allers and Rob Minkoff, dirs., 1994, Buena Vista). Bradshaw synthesizes the works of Otto Rank and Edith Sullwold and creates descriptions of the mythical child in exile. This pattern is followed in the stories of Jesus,
Moses, Buddha, and Perseus as well as Hamlet and Simba, the lion king. Using these two works,
I felt I could use popular culture to help my students understand archetypes.” While Gavin explains how it compares she also makes the point that Simba and Hamlet are much the same person. When comparing Hamlet and The Lion King, people do not often see the comparison …show more content…
This benefits these children when they enter high school to read Hamlet and knowing the plot because of their favorite childhood movies. Not to mention the expansion of Shakespeare's effects still happens everyday because of movies like this.
Shakespeare effects were not just limited to the listening crowd. Shakespeare's plots of his famous plays were also expressed through silent movies so people who could not hear also experience the wonder of the Shakespearean mind. Writer, James M. Welsh, explains to us books and films based on the silence from Shakespeare’s plots. “The novice will first be astonished, I think, to learn of the incredible number of attempts to capture Shakespeare-or bits and pieces of
Shakespeare-on film during the silent period. Scores of titles are listed merely for the first decade of the century: from 1 908 to 1911, not counting minor adaptations, "almost fifty new
Morrow5
productions of Shakespeare were on the screens in America, England, and on the Continent," so
Professor Ball informs us (p. 38). This influx, of course, comes early in the development of the motion picture and predates the most impressive historical contributions of, say, a David