Still in Movement: Shakespeare on ScreenOxford University Press, 1991 - 171 sivua In Still in Movement, Buchman explores the ways in which Shakespeare's plays function as products of cinematic technique and the ways in which the films organize the material of the drama to activate a particular imaginative response. To that end, he focuses on key moments in the films of Laurence Olivier (Henry V, Hamlet, and Richard III), Orson Welles (Macbeth, Othello, and Chimes at Midnight), Grigory Kozintav (Hamlet and King Lear), Roman Polanski (Macbeth) and Peter Brook (King Lear). He examines how these films clarify the process according to spatial and temporal structures of the medium. Buchman's approach is unique in the area of Shakespeare on film; he covers specific topics and addresses questions pertinent to those topics not through individual essays on any one film, play, or filmmaker, but through a comparative treatment of key sequences from a number of different films. |
Kirjan sisältä
Tulokset 1 - 3 kokonaismäärästä 15
Sivu 21
... Lady Macbeth , and the per- turbed expression on her face communicates clearly her concern that her husband will reveal all . Another shot of the confused guests is followed by a long shot of Banquo's empty chair . The camera then cuts ...
... Lady Macbeth , and the per- turbed expression on her face communicates clearly her concern that her husband will reveal all . Another shot of the confused guests is followed by a long shot of Banquo's empty chair . The camera then cuts ...
Sivu 36
... lady - in - waiting , glances lovingly at France , but is quickly made to stand soberly with the others after a subtle but stern nudge from her lady . Servants , attendants , nobility , royalty stand absolutely still and silent ...
... lady - in - waiting , glances lovingly at France , but is quickly made to stand soberly with the others after a subtle but stern nudge from her lady . Servants , attendants , nobility , royalty stand absolutely still and silent ...
Sivu 72
... Lady Macbeth , the space of both their conspiratorial whispers and their kisses , a blending of elements central to Polanski's interpretive strategy . The close - up is the space of Lady Mac- beth's conspiracy with the gods in her ...
... Lady Macbeth , the space of both their conspiratorial whispers and their kisses , a blending of elements central to Polanski's interpretive strategy . The close - up is the space of Lady Mac- beth's conspiracy with the gods in her ...
Sisältö
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Tekijänoikeudet | |
8 muita osia ei näytetty
Yleiset termit ja lausekkeet
action activity alienation appear audience battle becomes begins Brook calls camera castle chapter character cinematic close close-up context continues contrast create critical cuts Desdemona direct director drama dynamic elements enters experience exposes expression face Falstaff figure film filmic filmmaker finally focus follows forces function Ghost gives Hamlet hand hear Henry hero human Iago imaginative inside isolate King King Lear Kozintsev Lear Lear's look Macbeth medium mind moment moments move movement multiple murder nature observe offers Olivier Olivier's opening operates Orson Othello performance perspective picture play political present production realize relationship Richard scene screen sense sequence shadow Shakespeare shot shows simultaneous soliloquy sound space spatial field speaks specific spectator speech stage stand storm subjective suggests takes technique temporal tension theater theatrical tion tragedy University Press visual voice-over Welles's witness York
Viitteet tähän teokseen
Shakespeare On Film: Contemporary Critical Essays Robert Shaughnessy Esikatselu ei käytettävissä - 1998 |