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 46
... shadow , as a two - dimensional , static shape superimposed on a three - dimensional moving surface . ( The black shadow of Claudius's deeds casts itself on a world that extends beyond the microcosm of Elsinore . ) The director fills ...
... shadow , as a two - dimensional , static shape superimposed on a three - dimensional moving surface . ( The black shadow of Claudius's deeds casts itself on a world that extends beyond the microcosm of Elsinore . ) The director fills ...
Sida 92
... shadows . We see , projected on the floor , the shadow of Richard approach the shadow of the King sitting on the throne . We do not hear what Richard says , but see , in shadow , that he whispers something in the King's ear . ' The ...
... shadows . We see , projected on the floor , the shadow of Richard approach the shadow of the King sitting on the throne . We do not hear what Richard says , but see , in shadow , that he whispers something in the King's ear . ' The ...
Sida 139
... shadows projected on a wall . While their bodies merge in shadow we hear Othello's “ If I [ sic ] were now to die , / " Twere now to be most happy . " The moment , as Welles presents it , is fundamentally ambiguous and realizes the ...
... shadows projected on a wall . While their bodies merge in shadow we hear Othello's “ If I [ sic ] were now to die , / " Twere now to be most happy . " The moment , as Welles presents it , is fundamentally ambiguous and realizes the ...
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 |