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 136
... Othello reaches for the " ever " and not the " now " of human love . As is so often the case in Shakespeare's dramas ... Othello's statement on the manner by which he could attain eternal happi- ness through love exposes , by ...
... Othello reaches for the " ever " and not the " now " of human love . As is so often the case in Shakespeare's dramas ... Othello's statement on the manner by which he could attain eternal happi- ness through love exposes , by ...
Sida 141
... Othello becomes more and more enraged at the prospect of Desdemona's infidelity and as his world loses its equilibrium . During the " I see you are moved " section of the dialogue ( 2.207 ff ) , Iago actually helps Othello take off his ...
... Othello becomes more and more enraged at the prospect of Desdemona's infidelity and as his world loses its equilibrium . During the " I see you are moved " section of the dialogue ( 2.207 ff ) , Iago actually helps Othello take off his ...
Sida 142
... Othello becomes enraged . At this juncture , he first speaks of revenge in the short line , " I'll tear her all to pieces . ” Here Welles employs a powerful counterpoint to Othello's statement . During much of the “ temptation " scene ...
... Othello becomes enraged . At this juncture , he first speaks of revenge in the short line , " I'll tear her all to pieces . ” Here Welles employs a powerful counterpoint to Othello's statement . During much of the “ temptation " scene ...
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 |