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. |
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Tulokset 1 - 3 kokonaismäärästä 30
Sivu 33
... seems to disturb what appears , on the surface ( as photo- graphic realism ) , to be a clear delineation of spatial realms . The cinema has the capacity to juxtapose inside and outside worlds and create visual images of opposition ; it ...
... seems to disturb what appears , on the surface ( as photo- graphic realism ) , to be a clear delineation of spatial realms . The cinema has the capacity to juxtapose inside and outside worlds and create visual images of opposition ; it ...
Sivu 46
... seems to become one with the lifeless figures of the tapestries . When Laertes gives Ophelia advice on her relationship with Hamlet , he speaks to her as she leans against the wall . The stifling nature of Laertes's counsel ( a ...
... seems to become one with the lifeless figures of the tapestries . When Laertes gives Ophelia advice on her relationship with Hamlet , he speaks to her as she leans against the wall . The stifling nature of Laertes's counsel ( a ...
Sivu 82
... seems transfixed by him , involun- tarily staring at him and turning in his direction as she tries to leave . ) All details of expression , enormous on the screen , convey a realm of attitudes that works in tension with the action ...
... seems transfixed by him , involun- tarily staring at him and turning in his direction as she tries to leave . ) All details of expression , enormous on the screen , convey a realm of attitudes that works in tension with the action ...
Sisältö
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Tekijänoikeudet | |
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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 |