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 13
... multiple perspectives ) consists of an inter- play between moments of identification and moments of alienation . Direc- tors play with multiple perspectives in their films to keep the imagination alive , to keep it off balance , as it ...
... multiple perspectives ) consists of an inter- play between moments of identification and moments of alienation . Direc- tors play with multiple perspectives in their films to keep the imagination alive , to keep it off balance , as it ...
Sida 18
... multiple perspectives of cinematic space , now as a distant schemer , now as a conspiring friend . As he looks directly into the camera in close - up , one feels as if Richard is speaking directly to each individual ; he offers a secret ...
... multiple perspectives of cinematic space , now as a distant schemer , now as a conspiring friend . As he looks directly into the camera in close - up , one feels as if Richard is speaking directly to each individual ; he offers a secret ...
Sida 112
... Multiple perspective now takes on a distinctly temporal flavor . Curiously , the live stage , and not the screen , is the perfect habitat for simultaneous action because the broad perspective of the theater allows for two or more ...
... Multiple perspective now takes on a distinctly temporal flavor . Curiously , the live stage , and not the screen , is the perfect habitat for simultaneous action because the broad perspective of the theater allows for two or more ...
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
activity actor alienation articulate audience aural field battle battle of Shrewsbury Brook camera Cassio castle chaos character Chimes at Midnight cinematic space Claudius Claudius's close-up context Cordelia create dagger Desdemona director drama dynamic elements Elsinore experience face Falstaff figure filmic and theatrical filmic space filmmaker focus Ghost Gloucester Gloucester's Goneril Grigory Kozintsev Hamlet Henry hero hero's human Iago Iago's imaginative inside isolate juxtaposition King Lear Kozintsev lago Laurence Olivier Lear's long shot low-angle shot Macbeth medium mise-en-scène move movement murder Olivier Olivier's Ophelia Orson Orson Welles's Othello Peter Brook Polanski political production relationship Richard Richard III scene screen sense sequence shadow Shakespeare films Shakespeare on Film Shakespeare Our Contemporary Shakespeare's plays simultaneous action soliloquy soundtrack spatial field speaks speare's specific spectator speech stage storm technique temporal tension theater theatrical space tion tragedy University Press viewer visual voice-over witches words York
Hänvisningar till den här boken
Orson Welles, Shakespeare, and Popular Culture Michael A. Anderegg Begränsad förhandsgranskning - 1999 |