Free Essay on the BBC Film Adaptation of Dickens' Mystery of Edwin Drood

Question 1: The BBC Film Adaptation of Dickens' Mystery of Edwin Drood.

Charles Dickens was always famous for his magnificent and captivating stories and fictional novels. In his Mystery of Edwin Drood, Charles Dickens tried to depict a marvelous narrative of an opium addict choir leader, John Jasper, who establishes a plot to murder his nephew Edwin Drood for having everything that he did not have including the girl of his dream, the gorgeous Miss Rosa Bud. When his nephew, Edwin Drood suddenly and mysteriously died, people began asking numerous unanswered questions with characters suspecting each other on "Whodunit?" Unfortunately, Dickens died of a stroke in 1950 leaving the novel only halfway through. However, different producers and authors have since strived to formulate and predict the ending of the murder mystery striving to ascertain dead man's thought when he began writing the novel. Therefore, the investigation focuses on critical analysis on the effectiveness of the BBC film adaptation of Dickens' "Mystery of Edwin Drood" considering diverse contemporary ques utilized in the reproduction of the story.

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The current BBC's latest version of Dickens narrative efficiently offers an adventurous exposure as compared to its predecessors' Christmas treats like Great Expectations that adamantly based its tracks on Charles Dickens novel. BBC Two: The Mystery of Edwin Drood is significantly famous for its unfinished nature leaving many readers in suspense while many authors and producers with diverse unanswered questions (Boyce & Elodie, 9). The director Gweneth Hughes, together with a talented casts like Mathew Rhys as John Jasper, Rosa Bud (Tamzin Merchant) and Edwin Drood (Freddie Fox) directly plunges into the film with disorienting glance into the mind of an erotically obsessed and opium-addicted John Jasper, the Cathedral's choirmaster, who depicts massive dark elements and attitude such as being anti-hero (Williams, 275). Jasper's obsession with Drood's fiancee substantially tortures him and he consistently stalks Rose Don making him to aggressively and extremely resent his nephew Edwin Drood. Gweneth, in the BBC's Two substantially elaborate the detailed depiction of the characters confusing and suspicion on each other when Edwin Drood died without his body being found. The film excites imaginations and elevates audiences' thinking into higher sophisticated level evaluating and assessing possible clues and links towards Drood's murderer.

Moreover, the film effectively relates the contemporary environmental depiction of a magnificent mise en scene usage in the film providing the movie with a realistic and authentic visual connotation. From the using of make-ups and costumes to indoor and outdoor settings. BBC adequately provides some answers to the viewers. Hughes reveals massive twists made on the BBC Dicken's film where Jasper is a rival to both smitten Ceylonese twin Naville and his nephew Edwin for the affection of Rosa, which immensely brings an interesting connotation to viewers (Williams, 275). Despite showing everybody's intent and desire to do away with Edwin Drood, the BBC Two: The Mystery of Edwin Drood diligently eliminates suspects with insignificant reasons to murder Drood living only individuals with major intent, which gives the audience a clear clue of how Dickens might have wanted to conclude the movie despite not really revealing the conclusion still leaving viewers and audience in great suspense (Boyce & Elodie, 9). Conclusively, the latest version significantly provides more knowledge and promotes creative assessments among the modern audience to discern and reconstructs Dickens anticipated conclusion for the novel. Regardless of diverse versions produced by different authors and produces, Gweneth Hughes substantially propels an effective analysis and reconstruction of the film Mystery of Edwin Drood.

Question 3: Sound Analysis of Emily Dickinson's "I'm Nobody-Who are You?"

In her poem, I'm Nobody- Who Are You? Emily Dickinson adamantly exposes diverse elements that are significantly vital in contemporary society. She explores the hidden vices that society frequently practice but are substantially useless and unbeneficial to human progress. For example, in the poem, she criticizes people's struggle to live a famous and public life by constantly seeking recognition through engaging in unpromising activities. Moreover, she encourages private live characterize by exile, secrecy, self-identity, and self-actualization rather than baseless fame. Therefore, the investigation focuses on critical analysis of sound and tone utilized in the poem I'm Nobody- Who Are You? to communicate diverse messages to the readers.

Dickinson utilizes unique satirical sound to adamantly ridicule people for their struggle to achieve attention among individuals that do not care about their presence. She uses light, a childlike and humorous tone which is greatly inviting to the reader to share in her opinion and belief that seeking self-identity and solitude is more important and satisfying than baseless fame. In the poem, Dickinson assumes an anonymous personality as she speaks to the readers about being a non-entity (Gale, 49). She constructively uses the light tone to disguise her harsh disapproval to attaining fame through asking very light questions to the reader, "who are you?" making the reader to distinctively soul search whether they seek self-identity or baseless and unproductive fame. Moreover, reveals how insignificant public life is as it only oppresses people by placing massive pressure on people while embracing private and solitude life facilitate self-actualization (Abigail, 19). She adamantly compares individuals seeking fame with a noisy frog while their cheerleaders, a marshy bog, that regardless of their diverse activities to attain fame and recognition within the society, they are chained within a small and insignificant cocoon, which only their close marshy bog and narrow-minded individuals recognize their presents while remaining irrelevant to the greater universe. For instance, she states that "How public like a frog, to tell one's name, the livelong June, to an admiring bog." Despite disapproving the act of yearning for fame or recognition, she uses a light-hearted tome and sound to pass her message (Gale, 60).

Additionally, through using satirical sounds, she constantly mocks the famous elites that they must always keep their name in the public consciousness like a noisy from to remind their followers and admirers of their presence lest they are forgotten by the admiring bogs. Nevertheless, she not only ironically ridicule the famous personalities but also their followers whom she jokingly associates with constant swamps that lack individuality or personal initiative. For instance, in a more serene and comical manner, she satirically criticizes public figures and the respective mass that provides a platform for public figures to express themselves (Abigail, 19). She consistently uses playful tone and satirical sound to eliminate the stinging and punitive and ruthless nature in her discontent in the conduct of celebrities as they sacrifice a sense of individuality and personal principles for fame, glory, and recognition among admirers that do not have a vision or personal ascendancy in life (Gale, 60). Therefore, rather than conforming to the punitive and oppressive lifestyle of doing whatever it takes to remain known and recognition, she jokingly encourages her readers through a childlike sound to embrace private life and anonymity that gives people a sense on purpose, self-conscious, identity and individuality which lacks in the despotic fame world.

Works Cited

Abigail Martin. I'm Nobody! Who are you? Musical (Re) presentations of Emily Dickinson. (2018).

Boyce, Charlotte, and Elodie Rousselot. The other Dickens: neo-victorian appropriation and adaptation. Neo-Victorian Studies 5.2 (2012): 1-11.

Gale, Cengage Learning. A Study Guide for Emily Dickinson's" I'm Nobody! Who are You?". Gale, Cengage Learning, (2016).

Williams, Tony. UK Television Adaptations of Dickens, 1950 to 1970: A Survey Part 1-Context. The Dickensian 113.503 (2017): 273-276.