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 18.
Strana 133
... Iago has defied the expected time of his arrival . Desdemona was " Left in the conduct of the bold Iago , / Whose footing here anticipates our thoughts / A se'nnights speed " ( 2.1.76-78 ) . It is interesting to note that at this point ...
... Iago has defied the expected time of his arrival . Desdemona was " Left in the conduct of the bold Iago , / Whose footing here anticipates our thoughts / A se'nnights speed " ( 2.1.76-78 ) . It is interesting to note that at this point ...
Strana 134
... Iago . She becomes an unwitting accomplice in the villain's scheme . Shakespeare's clear emphasis on naming time is a comment on the vulnerability of Iago's victims . Moreover , the great " tempta- tion scene " follows this sequence ...
... Iago . She becomes an unwitting accomplice in the villain's scheme . Shakespeare's clear emphasis on naming time is a comment on the vulnerability of Iago's victims . Moreover , the great " tempta- tion scene " follows this sequence ...
Strana 135
... Iago wants him to perceive . And he does all this by recognizing when the opportune moments occur . Iago knows how to work with time so that time works for him . Iago's perception of time is thus one that assumes constant change and ...
... Iago wants him to perceive . And he does all this by recognizing when the opportune moments occur . Iago knows how to work with time so that time works for him . Iago's perception of time is thus one that assumes constant change and ...
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
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