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 30.
Strana 29
... appears a giant surrounded by tiny , obsequious subjects . When the murderers enter to plot Banquo's death , they appear very small next to the domineering King . At this moment , Welles uses a high - angle shot from behind the King's ...
... appears a giant surrounded by tiny , obsequious subjects . When the murderers enter to plot Banquo's death , they appear very small next to the domineering King . At this moment , Welles uses a high - angle shot from behind the King's ...
Strana 47
... appear on several occasions outside of the fortress walls ; he even goes outside to die at the end of the film ... appears in a religious context . Gone is the moment when the Ghost is " offended " and " stalks away " after Horatio ...
... appear on several occasions outside of the fortress walls ; he even goes outside to die at the end of the film ... appears in a religious context . Gone is the moment when the Ghost is " offended " and " stalks away " after Horatio ...
Strana 74
... appears , just as the crooked stick of the witches appeared in the opening shot . Who gives Macbeth his sword ? Presumably his wife , though we are never told in Polanski's visuals . Daggers " appear " before Macbeth just as weapons appear ...
... appears , just as the crooked stick of the witches appeared in the opening shot . Who gives Macbeth his sword ? Presumably his wife , though we are never told in Polanski's visuals . Daggers " appear " before Macbeth just as weapons appear ...
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
activity actor alienation articulate audience aural field battle battle of Shrewsbury Brook camera Cassio castle chaos character Chimes at Midnight cinematic space Claudius Claudius's close-up context Cordelia create dagger Desdemona director drama dynamic elements Elsinore experience face Falstaff figure filmic and theatrical filmic space filmmaker focus Ghost Gloucester Gloucester's Goneril Grigory Kozintsev Hamlet Henry hero hero's human Iago Iago's imaginative inside isolate juxtaposition King Lear Kozintsev lago Laurence Olivier Lear's long shot low-angle shot Macbeth medium mise-en-scène move movement murder Olivier Olivier's Ophelia Orson Orson Welles's Othello Peter Brook Polanski political production relationship Richard Richard III scene screen sense sequence shadow Shakespeare films Shakespeare on Film Shakespeare Our Contemporary Shakespeare's plays simultaneous action soliloquy soundtrack spatial field speaks speare's specific spectator speech stage storm technique temporal tension theater theatrical space tion tragedy University Press viewer visual voice-over witches words York