Still in Movement: Shakespeare on ScreenOxford University Press, 1991 - 171 sidor 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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Sida 17
... Shakespeare's own dramaturgical design , and parallels in his camera work the dazzling schemes of one of the playwright's most potent vice - figures . In ... characters who repre- sent the figure in its maturest form . 10 Indeed , as ...
... Shakespeare's own dramaturgical design , and parallels in his camera work the dazzling schemes of one of the playwright's most potent vice - figures . In ... characters who repre- sent the figure in its maturest form . 10 Indeed , as ...
Sida 32
... Shakespeare's drama ( and , as such , it can defamiliarize us from old ways of seeing the plays ) . We travel the lines of tension and conflict in the plays , within the consciousness of individual characters as well as among many ...
... Shakespeare's drama ( and , as such , it can defamiliarize us from old ways of seeing the plays ) . We travel the lines of tension and conflict in the plays , within the consciousness of individual characters as well as among many ...
Sida 155
... Theatre , trans . John Willett ( New York : Hill and Wang , 1964 ) , 197 . 22. See Chapter 2 , where I treat in more detail the nature of the filmmaker's conceptual focus . 23. Shakespeare on Film , 152 . 24. Shakespeare's Imagery Notes ...
... Theatre , trans . John Willett ( New York : Hill and Wang , 1964 ) , 197 . 22. See Chapter 2 , where I treat in more detail the nature of the filmmaker's conceptual focus . 23. Shakespeare on Film , 152 . 24. Shakespeare's Imagery Notes ...
Innehåll
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Upphovsrätt | |
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Vanliga ord och fraser
activity actor alienation articulate audience aural field battle battle of Shrewsbury Brook camera Cassio castle chaos character Chimes at Midnight cinematic space Claudius Claudius's close-up context Cordelia create dagger Desdemona director drama dynamic elements Elsinore experience face Falstaff figure filmic and theatrical filmic space filmmaker focus Ghost Gloucester Gloucester's Goneril Grigory Kozintsev Hamlet Henry hero hero's human Iago Iago's imaginative inside isolate juxtaposition King Lear Kozintsev lago Laurence Olivier Lear's long shot low-angle shot Macbeth medium mise-en-scène move movement murder Olivier Olivier's Ophelia Orson Orson Welles's Othello Peter Brook Polanski political production relationship Richard Richard III scene screen sense sequence shadow Shakespeare films Shakespeare on Film Shakespeare Our Contemporary Shakespeare's plays simultaneous action soliloquy soundtrack spatial field speaks speare's specific spectator speech stage storm technique temporal tension theater theatrical space tion tragedy University Press viewer visual voice-over witches words York
Hänvisningar till den här boken
Orson Welles, Shakespeare, and Popular Culture Michael A. Anderegg Begränsad förhandsgranskning - 1999 |