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 32
Sida 53
... imaginative participation of the audience . The stage director who understands the creative potential of the medium will use the theater , not to create a realistic storm , but to offer a context for the turbulent confrontation of a man ...
... imaginative participation of the audience . The stage director who understands the creative potential of the medium will use the theater , not to create a realistic storm , but to offer a context for the turbulent confrontation of a man ...
Sida 91
... imaginative expansion of space , so , too , does the battle on film represent the moment when the director parallels the activities of the imagination and expands his perfor- mance space to its maximum . Olivier imitates through ...
... imaginative expansion of space , so , too , does the battle on film represent the moment when the director parallels the activities of the imagination and expands his perfor- mance space to its maximum . Olivier imitates through ...
Sida 104
... imaginative building : in his description of the cliffs , Edgar does for Glouces- ter what Shakespeare and his actors do for the audience at the Globe . In both cases , flat worlds are magically transformed in the dance of language and ...
... imaginative building : in his description of the cliffs , Edgar does for Glouces- ter what Shakespeare and his actors do for the audience at the Globe . In both cases , flat worlds are magically transformed in the dance of language and ...
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 |