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 29.
Strana 136
... Othello reaches for the " ever " and not the " now " of human love . As is so often the case in Shakespeare's dramas , one's greatest desire is also the point of one's greatest vulnerability . a way similar to Maria's exploitation of ...
... Othello reaches for the " ever " and not the " now " of human love . As is so often the case in Shakespeare's dramas , one's greatest desire is also the point of one's greatest vulnerability . a way similar to Maria's exploitation of ...
Strana 139
... Othello does not " chop her into messes " as he vowed he would earlier in the play . Such an act would only further the victory of chaos . Othello smothers Desdemona . Othello kills Desdemona in order to save the moral order , to ...
... Othello does not " chop her into messes " as he vowed he would earlier in the play . Such an act would only further the victory of chaos . Othello smothers Desdemona . Othello kills Desdemona in order to save the moral order , to ...
Strana 141
... Othello becomes more and more enraged at the prospect of Desdemona's infidelity and as his world loses its equilibrium . During the " I see you are moved " section of the dialogue ( 2.207 ff ) , Iago actually helps Othello take off his ...
... Othello becomes more and more enraged at the prospect of Desdemona's infidelity and as his world loses its equilibrium . During the " I see you are moved " section of the dialogue ( 2.207 ff ) , Iago actually helps Othello take off his ...
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