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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Strana 9
... Olivier's rousing speeches as Henry V. His Hamlet is striking for its realization of Dover Wilson's speculations on the play , for its Freudian interpretation based largely on the work of Ernest Jones ( since Olivier's film , stage ...
... Olivier's rousing speeches as Henry V. His Hamlet is striking for its realization of Dover Wilson's speculations on the play , for its Freudian interpretation based largely on the work of Ernest Jones ( since Olivier's film , stage ...
Strana 101
... Olivier's camera can roam with similar freedom of movement as it shoots Shakespeare's Hamlet . In addition , just as the camera on " The Mousetrap " ( a stage enactment on screen ) incorporates both filmic and theatrical attributes , so ...
... Olivier's camera can roam with similar freedom of movement as it shoots Shakespeare's Hamlet . In addition , just as the camera on " The Mousetrap " ( a stage enactment on screen ) incorporates both filmic and theatrical attributes , so ...
Strana 159
... Olivier's Richard III : A Reevaluation , " in Eckert , Focus on Shake- spearean Films , 134 . 6. The Oxford English ... Olivier's Hamlet : A Film - Infused Play , " Literature / Film Quarterly , Vol . 4 ( 1977 ) : 305. I would add that ...
... Olivier's Richard III : A Reevaluation , " in Eckert , Focus on Shake- spearean Films , 134 . 6. The Oxford English ... Olivier's Hamlet : A Film - Infused Play , " Literature / Film Quarterly , Vol . 4 ( 1977 ) : 305. I would add that ...
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