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. |
Från bokens innehåll
Resultat 1-3 av 47
Sida 22
... dynamic of the scene . Whatever the trade - off on stage , the potentials of cinematic space offer a third possibility . Through cutting , Welles's film realizes the ambiguous status of the ghost — it is and is not there ...
... dynamic of the scene . Whatever the trade - off on stage , the potentials of cinematic space offer a third possibility . Through cutting , Welles's film realizes the ambiguous status of the ghost — it is and is not there ...
Sida 26
... dynamic of human relationships . " The result of the cinema's capacity to give spatial form to this dynamic is that it offers the spectator a sense of two distinct forces , one behind the curtain and the other in the center of the great ...
... dynamic of human relationships . " The result of the cinema's capacity to give spatial form to this dynamic is that it offers the spectator a sense of two distinct forces , one behind the curtain and the other in the center of the great ...
Sida 78
... dynamic . Movement among the elements of a given shot ultimately participates in the movement of the film as a whole . Specifically , in a process similar to that of montage itself , the close - up , or medium close shot , can give a ...
... dynamic . Movement among the elements of a given shot ultimately participates in the movement of the film as a whole . Specifically , in a process similar to that of montage itself , the close - up , or medium close shot , can give a ...
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 |