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 4
... drama insights , ideas , and ideological interests pertinent to the given historical moment . I do not mean to ... drama . Grigory Kozintsev , for example , almost entirely removes the Chris- tian context of Shakespeare's Hamlet to make ...
... drama insights , ideas , and ideological interests pertinent to the given historical moment . I do not mean to ... drama . Grigory Kozintsev , for example , almost entirely removes the Chris- tian context of Shakespeare's Hamlet to make ...
Sida 148
... drama to unfold - a private space , an intimate space , one that can serve as the place for covert action , for the most intimate expressions of emotion , and as a locale for a tortured psyche . The close - up is a shot packed , not ...
... drama to unfold - a private space , an intimate space , one that can serve as the place for covert action , for the most intimate expressions of emotion , and as a locale for a tortured psyche . The close - up is a shot packed , not ...
Sida 163
... Drama within Drama : Shakespeare's Sense of His Art . New York : Colum- bia University Press , 1975 . Eisenstein , Sergei . Film Form . Trans . Jay Leyda . New York : Meridian Books , 1957 . The Film Sense . Trans . Jay Leyda . New York ...
... Drama within Drama : Shakespeare's Sense of His Art . New York : Colum- bia University Press , 1975 . Eisenstein , Sergei . Film Form . Trans . Jay Leyda . New York : Meridian Books , 1957 . The Film Sense . Trans . Jay Leyda . New York ...
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 |