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 3
... becomes so flustered by the increasing speed of the conveyor belt that , in earnest pursuit , he ends up in the great modern machine itself , processed through its gears and wheels . After four centuries of stage productions of ...
... becomes so flustered by the increasing speed of the conveyor belt that , in earnest pursuit , he ends up in the great modern machine itself , processed through its gears and wheels . After four centuries of stage productions of ...
Sida 126
... becomes ( strikingly in this film ) a new field for exploring the specific relationship between the text and the world that the film opens as it draws from that text . Because of its uniqueness as a study of time in Othello ( and the ...
... becomes ( strikingly in this film ) a new field for exploring the specific relationship between the text and the world that the film opens as it draws from that text . Because of its uniqueness as a study of time in Othello ( and the ...
Sida 136
... becomes Iago's primary target . The villain exploits the hero's hidden anxiety and shatters his greatest hope . Iago destroys Othello by altering his perception of the nature of time . At a number of moments in the play , Desdemona is ...
... becomes Iago's primary target . The villain exploits the hero's hidden anxiety and shatters his greatest hope . Iago destroys Othello by altering his perception of the nature of time . At a number of moments in the play , Desdemona is ...
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 |