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. |
Vyhľadávanie v obsahu knihy
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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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