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 53
... theater rather than on the questions of human experience asked within the context of Shakespeare's tragedy , then bad theater is the root of the problem , and not poetry on the stage . Another way to look at the issue is to ask how the ...
... theater rather than on the questions of human experience asked within the context of Shakespeare's tragedy , then bad theater is the root of the problem , and not poetry on the stage . Another way to look at the issue is to ask how the ...
Sida 63
... theater did to it ; in one instance , the crude languages of the theater destroy the playwright's poetry , and in the other , the highly developed language of the cinema collides with " a dense metaphorical world . " True , both film ...
... theater did to it ; in one instance , the crude languages of the theater destroy the playwright's poetry , and in the other , the highly developed language of the cinema collides with " a dense metaphorical world . " True , both film ...
Sida 105
... theater with the surprising reminder that comes from Gloucester's words , " Methinks the ground is even . " They are words , ironically , that Gloucester speaks just before the commits himself to believe he is climbing ; it is a moment ...
... theater with the surprising reminder that comes from Gloucester's words , " Methinks the ground is even . " They are words , ironically , that Gloucester speaks just before the commits himself to believe he is climbing ; it is a moment ...
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 |