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 31
... Lear as the all - powerful giant . Indeed , Lear's ascent reflects his own self - image as one above humanity . When he reaches the top of the castle walls , we view the " giant " in close - up as he stands before his kingdom ...
... Lear as the all - powerful giant . Indeed , Lear's ascent reflects his own self - image as one above humanity . When he reaches the top of the castle walls , we view the " giant " in close - up as he stands before his kingdom ...
Sida 56
... Lear's profoundest discoveries . In the film , as opposed to the original text , Lear's actual perception of " loop'd and window'd raggedness " is the impetus for his prayer for the houseless beggars and for his call to the rulers and ...
... Lear's profoundest discoveries . In the film , as opposed to the original text , Lear's actual perception of " loop'd and window'd raggedness " is the impetus for his prayer for the houseless beggars and for his call to the rulers and ...
Sida 115
... Lear's riotous knights and her order to Oswald that the other servants " neglect him ” ; ( 5 ) a long shot of Lear's train ( we learn from the next shot , no . 6 , that we are seeing the long line of knights from Goneril's perspective ...
... Lear's riotous knights and her order to Oswald that the other servants " neglect him ” ; ( 5 ) a long shot of Lear's train ( we learn from the next shot , no . 6 , that we are seeing the long line of knights from Goneril's perspective ...
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
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
Hänvisningar till den här boken
Orson Welles, Shakespeare, and Popular Culture Michael A. Anderegg Begränsad förhandsgranskning - 1999 |