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 15
... audience never shares . To clarify this point , it is instructive to make a quick comparison between Welles's technique and traditional stage practice . The voice - over , as a filmic convention , grants us a special privilege — a ...
... audience never shares . To clarify this point , it is instructive to make a quick comparison between Welles's technique and traditional stage practice . The voice - over , as a filmic convention , grants us a special privilege — a ...
Sida 17
... audience . Richard III enacts his brutality with a theater audi- ence of conspirators . Shakespeare's vice - figure talks to his audience , lets them know his plans , asserts his motive , takes them into his confidence , and ...
... audience . Richard III enacts his brutality with a theater audi- ence of conspirators . Shakespeare's vice - figure talks to his audience , lets them know his plans , asserts his motive , takes them into his confidence , and ...
Sida 96
... audience , does not look directly into the camera to take us into his confidence . He ignores us . He seems now to have no use for us . It is only after King Richard rejects Buckingham that he resumes speaking directly to his audi- ence ...
... audience , does not look directly into the camera to take us into his confidence . He ignores us . He seems now to have no use for us . It is only after King Richard rejects Buckingham that he resumes speaking directly to his audi- ence ...
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 |