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 21
... cuts to Lady Macbeth , and the per- turbed expression on her face communicates clearly her concern that her husband will reveal all . Another shot of the confused guests is followed by a long shot of Banquo's empty chair . The camera ...
... cuts to Lady Macbeth , and the per- turbed expression on her face communicates clearly her concern that her husband will reveal all . Another shot of the confused guests is followed by a long shot of Banquo's empty chair . The camera ...
Sida 113
... cuts to courtiers inside Elsinore repeating the phrase “ in equal scale ” on their way to the assembly . The courtiers overlap the soldier's words , suggesting simultaneous activity inside and outside . As the courtiers exit , two ...
... cuts to courtiers inside Elsinore repeating the phrase “ in equal scale ” on their way to the assembly . The courtiers overlap the soldier's words , suggesting simultaneous activity inside and outside . As the courtiers exit , two ...
Sida 142
... cuts to a shot of lago and Othello walking rapidly along the battlements , and a sequence representing the hero's trance then follows . As the dialogue of Act 4 , scene 1 is spoken , Welles uses quick cuts from one speaker to the other ...
... cuts to a shot of lago and Othello walking rapidly along the battlements , and a sequence representing the hero's trance then follows . As the dialogue of Act 4 , scene 1 is spoken , Welles uses quick cuts from one speaker to the other ...
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 |