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 27
... realize subjective experience in a specific series of spatial relationships . In other words , the governing force ... realizes a descent into a chaotic universe by inviting the viewer to merge his or her experience of the action with ...
... realize subjective experience in a specific series of spatial relationships . In other words , the governing force ... realizes a descent into a chaotic universe by inviting the viewer to merge his or her experience of the action with ...
Sida 91
Shakespeare on Screen Lorne Michael Buchman. Olivier realizes the disparity between the " lusty " and overconfident French on ... realize that we are no longer in the artificial world of phase two , but have entered an expansive space of ...
Shakespeare on Screen Lorne Michael Buchman. Olivier realizes the disparity between the " lusty " and overconfident French on ... realize that we are no longer in the artificial world of phase two , but have entered an expansive space of ...
Sida 127
... realizes how the mise - en - scène of the film is a product of the director's sensitivity to the conceptual ... realizing the rhythms of Othello and Desdemona on the one hand and Iago on the other . William Johnson sees the entire film ...
... realizes how the mise - en - scène of the film is a product of the director's sensitivity to the conceptual ... realizing the rhythms of Othello and Desdemona on the one hand and Iago on the other . William Johnson sees the entire film ...
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 |