论文代写招聘：讨论电影《禁星》和《暴风雨》
这篇阅读讨论了电影，“禁星”和“暴风雨”，说明这些电影的性质。阅读表明，这些电影负责通过反射和权力滥用来表现这些电影的智能使用。每个角色都有自己的角色，小到船夫长，大到阿隆索、安东尼奥等关键人物。然而，它的基石，再一次通过普洛斯彼罗或莫尔比乌斯的孪生性格来表现。这篇文章接着说明了在《暴风雨》中发生了什么。这表明该剧从一开始就保持了双重性的主题。当冈萨洛找到水手长，征求他的意见时，这位水手长严肃地说，他是市议员，应该让其他人来做他们的工作。纳波利坦人傲慢的假设是，当暴风雨发生时，他们可以向海上有经验的人提供建议，但只有在危险是威胁和可怕的时候。从这个角度看，影片的核心主题和争论围绕着小说、暴风雨和禁星之间错综复杂的关系进行对比和对比。
论文代写招聘：讨论电影《禁星》和《暴风雨》
这篇文章争论说，好莱坞和莎士比亚之间的交流导致了这样的电影是有趣的，奇怪的，甚至迷人。正如这篇文章所讨论的那样，各种各样的电影都被制作出来了，但与巴德的作品建立对话机制的成功有限，相比于简单的改编电影，这种对话机制可以向前推进。莎士比亚最新的戏剧《暴风雨》就是其中一个不太可能的成员。为了保持这种完全不同的媒体形式在不同程度上的成功，本文继续比较了这些电影中不同的文化和视角。这篇文章进一步清楚地说明了《暴风雨》和《禁星》之间的相互影响，以及电影的科幻背景对突出这部剧的一些主要主题所起的重要作用。本文还对比了这两部电影是如何将其他电影中的各种主题搬上舞台的。
论文代写招聘：讨论电影《禁星》和《暴风雨》
This reading discusses the films, “Forbidden Planet” and “The Tempest”, illustrating the nature of these films. The reading indicated that these films are responsible for representing an intelligent use of these films through reflection and power misuses. Each character has a role to play from small figures such as the boatswain of ships to key players like Alonso or Antonio. Its cornerstone, however, is once more represented through Prospero or Morbius twin character. The article then illustrates what happens in the play of The Tempest. It indicates that the twin character theme is maintained in the play at the very beginning itself. When the boatswain of the ship is approached by Gonzalo for giving him suggestions, the man replied with sternness that he is the councillor and others should be left to do their jobs. The arrogant assumption of the Napolitans’ lies in the fact that they can deliver advice on experienced men at sea when a storm occurs but only when the danger is threatening and frightful. From this perspective, the key theme and debate in the film revolved around comparing and contrasting the intertwined relationship between fiction, The Tempest and Forbidden Planet.
论文代写招聘：讨论电影《禁星》和《暴风雨》
The article debated that the communion between Hollywood and Shakespeare has resulted in producing such films that are funny, strange and even fascinating. Various films, as the article debates, have been produced with only limited success for instituting a dialogue with the work of bard that can move ahead in comparison to simple adaptation cinematography. One of the mere improbable group members is the latest play of The Tempest by Shakespeare. To keep this a completely different form of media as a varying success degree, the article moved on to compare the different cultures and perspectives across these movies. The article clearly illustrates further that the Tempest and Forbidden Planet influence each other along with the manner in which the science fiction setting of film is contributed significantly for highlighting some of the main themes of the play. The article has also contrasted how each of these films is able to bring various key themes in the other films to the forefront.