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 60.
Strana 115
... action . The key sequence of Shake- speare's play where the child plans to revolt against the parent functions in a continual dialectic of concurrent dramatic action . Every time we are with Lear , we bring with us a strong sense of the ...
... action . The key sequence of Shake- speare's play where the child plans to revolt against the parent functions in a continual dialectic of concurrent dramatic action . Every time we are with Lear , we bring with us a strong sense of the ...
Strana 118
... action . But simulta- neous action is not only a product of editing ; two very distinct synchronous activities can form a dynamic through the locations of the visual and aural . Indeed the juxtaposition of things seen and things heard ...
... action . But simulta- neous action is not only a product of editing ; two very distinct synchronous activities can form a dynamic through the locations of the visual and aural . Indeed the juxtaposition of things seen and things heard ...
Strana 121
... action and decides upon the play as a way to test the truth of the Ghost and Claudius's culpability . Shostakovitch's music swells , and , at the end of the speech , Hamlet's only outward expression is a wordless scream . IV Two ...
... action and decides upon the play as a way to test the truth of the Ghost and Claudius's culpability . Shostakovitch's music swells , and , at the end of the speech , Hamlet's only outward expression is a wordless scream . IV Two ...
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
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