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 75.
Strana 23
... King ! My Jove ! I speak to thee , my heart ! " Falstaff falls on his knees , but Hal remains with his back turned - we share the moment , in a low - angle shot of the King , with Fal- staff . The cathedral goes silent . Without turning ...
... King ! My Jove ! I speak to thee , my heart ! " Falstaff falls on his knees , but Hal remains with his back turned - we share the moment , in a low - angle shot of the King , with Fal- staff . The cathedral goes silent . Without turning ...
Strana 30
... King's departure from the throne room ( the location for 1.1 ) with a rapidly moving , backward - traveling camera . Lear leaves the castle with determination as attendants repeatedly call out : “ An hundred knights for the king ...
... King's departure from the throne room ( the location for 1.1 ) with a rapidly moving , backward - traveling camera . Lear leaves the castle with determination as attendants repeatedly call out : “ An hundred knights for the king ...
Strana 92
... King Edward of a treasonous plot based on “ a prophecy , which says that G / of Edward's heirs the murderer shall be ... King sitting on the throne . We do not hear what Richard says , but see , in shadow , that he whispers something in ...
... King Edward of a treasonous plot based on “ a prophecy , which says that G / of Edward's heirs the murderer shall be ... King sitting on the throne . We do not hear what Richard says , but see , in shadow , that he whispers something in ...
Obsah
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Autorské práva | |
8 zvyšných častí nezobrazených
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