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 67
... words . Shakespeare's play achieves a kind of Beckettian attenuation in this film with its isolated shot of the speaking figure and with its focus on a stream of words coming from a human mouth . It is a perfor- mance with the same ...
... words . Shakespeare's play achieves a kind of Beckettian attenuation in this film with its isolated shot of the speaking figure and with its focus on a stream of words coming from a human mouth . It is a perfor- mance with the same ...
Sida 113
... words on the soundtrack while the camera pans crowds of peasants standing outside the castle walls . Eventually , Kozintsev's camera focuses on a soldier reading the words to the peasants as a royal proclamation . The world listens ...
... words on the soundtrack while the camera pans crowds of peasants standing outside the castle walls . Eventually , Kozintsev's camera focuses on a soldier reading the words to the peasants as a royal proclamation . The world listens ...
Sida 135
... words have an everlasting implication . To Iago he swears , " I am bound to thee forever . " In the words of G. Wilson Knight , " from the first to the last he loves his own romantic history . " His association with the grand spectrum ...
... words have an everlasting implication . To Iago he swears , " I am bound to thee forever . " In the words of G. Wilson Knight , " from the first to the last he loves his own romantic history . " His association with the grand spectrum ...
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 |