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
... relationship in the imaginative journey of viewing Shakespeare on film ( and one that results from the cinema's spatial field of multiple perspectives ) consists of an inter- play between moments of identification and moments of ...
... relationship in the imaginative journey of viewing Shakespeare on film ( and one that results from the cinema's spatial field of multiple perspectives ) consists of an inter- play between moments of identification and moments of ...
Sida 32
Shakespeare on Screen Lorne Michael Buchman. is a paradigmatic relationship in the “ virtual dimension " of ... relationships . The cinema activates the imagi- nation in a manner different from that of the stage , even though one often ...
Shakespeare on Screen Lorne Michael Buchman. is a paradigmatic relationship in the “ virtual dimension " of ... relationships . The cinema activates the imagi- nation in a manner different from that of the stage , even though one often ...
Sida 54
... relationship to his physical environment ( and how spiritual change stems from that confrontation ) ; in the other we see the new relationships that define the human being in the context of a tortured psyche . To express the issue as a ...
... relationship to his physical environment ( and how spiritual change stems from that confrontation ) ; in the other we see the new relationships that define the human being in the context of a tortured psyche . To express the issue as 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
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 |