Still in Movement: Shakespeare on ScreenOxford University Press, 1991 - 171 strán (strany) 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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Výsledky 1 - 3 z 25.
Strana 61
... Brook punctuates every phrase he utters with a clap of thunder and an immediate cut to a full close - up of this ... Brook , the storm , and the viewing audience . That Tom is , on one level , a construct of Shakespeare and Brook is ...
... Brook punctuates every phrase he utters with a clap of thunder and an immediate cut to a full close - up of this ... Brook , the storm , and the viewing audience . That Tom is , on one level , a construct of Shakespeare and Brook is ...
Strana 104
... Brook discusses is , in a very important sense , a product of the theatrical self - consciousness that informs Shakespeare's work . The moment operates on the basis ... Brook's King Lear . Brook's shot of Edgar holding 104 Still in Movement.
... Brook discusses is , in a very important sense , a product of the theatrical self - consciousness that informs Shakespeare's work . The moment operates on the basis ... Brook's King Lear . Brook's shot of Edgar holding 104 Still in Movement.
Strana 106
... Brook follows Shakespeare with a comment on the nature of film by creating a moment in which he reminds his spectator , by the long shot , of the flat surface the men walk on . Or , to put it in the terms of this chapter , he brings out ...
... Brook follows Shakespeare with a comment on the nature of film by creating a moment in which he reminds his spectator , by the long shot , of the flat surface the men walk on . Or , to put it in the terms of this chapter , he brings out ...
Obsah
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Autorské práva | |
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Časté výrazy a frázy
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