‘Why, then you are in love’Salarino, Act 1 Scene 1
The KULESHOV Effect
The Kuleshov effect (as proved by film-maker Lev
Kuleshov) is the idea that it is the relationship of one
shot to the next that creates narrative.
What do you think is suggested about the cut from Antonio to Bassanio at this moment?
Could we use the Kuleshov effect here to support a claim that the feelings that
Antonio has for Bassanio are Anti-Christian?
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Note the monochrome colours. Shylock is left hopeless.
FORESHADOWING
Are these scales symbolic of the Scales of Justice?• They are a clear visual link to the
brutal bond that Shylock is to create with Antonio. They are measuring flesh.
• They perhaps symbolise the justice at the end of the play – who gets justice?
The statue of Lady Justice is blind-folded to represent fairness – she cannot be
prejudiced by appearance. Does this idea hold in the play: are the characters treated
fairly or is justice blind to any of the characters?
Close up
Long shot
IMPORTANT
In the 2000 Nunn version, Shylock puts his Jewish clothes onto the scales at the end. Why is it significant that the scales are unbalanced?
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Wide Angle
Why has Shylock got his back to these characters? • Is this irony? They usually turn their
back on him, but now he is in control…
SYMBOLISM
Symbolism is the technique by which visuals can be used to represent qualities
or ideas.
Look at the COMPOSITION of this shot. Does the position of Antonio, standing over a sitting Shylock and looking down
to him, represent and symbolise the power and authority he has over
Shylock?
Again, is this an ironic portrayal of Antonio’s character – the arrogant
merchant who, in the end, is going to be reliant on the mercy of Shylock?
Shylock’s room is clearly a place where business happens…• Does the mide-en-scene (props
etc) reinforce the stereotypical view of a Jew at the time (a cruel money lender)?
You call me misbeliever, cut-throat dog,And spit upon my Jewish gaberdine
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Antonio’s lifehangs in the balance at the end of the film and play. His arrogance foreshadows the tense end of the play.
Antonio’s arrogance lessens our affection and reminds us of the brutal opening of the film.
Close up
I am as like to call thee so again,To spit on thee again
FORESHADOWING
Why do you think this scene (the spitting scene at the start of the 2004 Radford
version) was not included in the opening to the 2000 Trevor Nunn production?
How might it shape our view of the characters?
VISCERAL IMAGERY
SALANIO Out upon it, old carrion! rebels it at these years
You know, none so well, none so well as you, of mydaughter's flight.
High AngleShylock (2004) is shown in a slightly high angle. A high angle shot is supposed to signify that
the person is weaker. Do you agree with this interpretation?
What does his facial expression tell you?
In the 2000 Nunn production, Shylock is in the foreground. What does this
tell you about his importance and how does it differ from the 2004 version?What do you notice about the use of
colour in each?
Wide Angle
3-Shot
Shylock’s pain is then trivialised using sexual humour:
If you prick us, do we not bleed?What do you notice about the reactions of the listeners?
Radford (2004, top) and Nunn (2000, bottom) have chosen to present these two scenes in hugely contrasting ways. Al Pacino (top) uses an aggressive tone, conveying a sense of hurt and pain in his voice. His monologue is gripping. Henry Goodman’s portrayal is very different. A much calmer, dignified tone. Why the
difference?What visual similarities do they share?
Medium close up – Shylock
dominates the frame.
Medium close up – Shylock
dominates the frame.
The Nuremburg Trials court room The court room in Act 4, Scene 1
Whilst the scene from the 2004 film clearly shows Shylock’s alienation, the 2000 Nunn film does more to capture the significance of the scene.
Nunn’s version visually echoes the Nuremberg Trails (1945-49). The trials sentenced Nazi war criminals for their crimes, including the treatment of the Jews.
Note the similar colours
TREVOR NUNN: ‘I wanted to put the play there [1930s] so it couldn't in any way shrink from the reality of the Holocaust’
Is this Nunn being sympathetic to
Shylock by highlighting and
echoing atrocities done to the
Jews?
Who knows? But it would be worth considering whether Nunn has intentionally echoed a war criminal. If he has, what might this suggest about the harsh way in which Shylock is treated at the end of the play?
Hermann Göring in the dock The Duke of Venice leading the trial (2000, Trevor Nunn production)
ADDITIONALLY…
Look at the similarities between these two scenes. The one on the left is of Hermann Göring in the dock being tried for his crime. Göring was a senior leader in the Nazi party with Hitler.
ON the left is the Duke leading the trial of Antonio and then Shylock.
ARE THESE SIMILARITIES ACCIDENTAL?
The crucifix worn by Antonio is the 2004 version is a reminder of Antonio’s faith. It might remind us that Antonio is the hero
(whether we want him to be or not) and that what we might see is the end of our hero. It
makes the scene tense.
Antonio is a hypocritical
Christian. But, can a Christian hero be killed?
Close up
Close up
There is a clear similarity here in the presentation of this scene in the 2000
Trevor Nunn production.
Both use a close up, but note the absence of the crucifix in Nunn’s
production. What is he trying to say about Antonio? Is he a Christian hero?
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