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Act 1, Scene 1
13
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Page 1: Merchant screen shot analysis

Act 1, Scene 1

Page 2: Merchant screen shot analysis

‘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?

Page 3: Merchant screen shot analysis

Act 1, Scene 3

Page 4: Merchant screen shot analysis

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?

Page 5: Merchant screen shot analysis

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

Page 6: Merchant screen shot analysis

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

Page 7: Merchant screen shot analysis

Act 3, Scene 1

Page 8: Merchant screen shot analysis

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:

Page 9: Merchant screen shot analysis

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.

Page 10: Merchant screen shot analysis

Act 4, Scene 1

Page 11: Merchant screen shot analysis

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?

Page 12: Merchant screen shot analysis

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?

Page 13: Merchant screen shot analysis

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?