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 18
... Richard appears , in the context of the multiple perspectives of cinematic space , now as a distant schemer , now as a conspiring friend . As he looks directly into the camera in close - up , one feels as if Richard is speaking directly ...
... Richard appears , in the context of the multiple perspectives of cinematic space , now as a distant schemer , now as a conspiring friend . As he looks directly into the camera in close - up , one feels as if Richard is speaking directly ...
Sida 92
... Richard tells the audi- ence in his first soliloquy how he has " set [ his ] brother Clarence and the King / In ... Richard turns to his audience with glee to tell of his plan to have his brother murdered . In the film , on the other ...
... Richard tells the audi- ence in his first soliloquy how he has " set [ his ] brother Clarence and the King / In ... Richard turns to his audience with glee to tell of his plan to have his brother murdered . In the film , on the other ...
Sida 96
... Richard's ways for Richard's ends . It is interesting to note that while the alliance between these two men exists , Richard does not confide in the audience , does not look directly into the camera to take us into his confidence . He ...
... Richard's ways for Richard's ends . It is interesting to note that while the alliance between these two men exists , Richard does not confide in the audience , does not look directly into the camera to take us into his confidence . He ...
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 |