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 36
... castle now visible in the distance . Following the short dialogue between Kent and Gloucester ( 1.1 ) , the scene cuts to the inside of the castle , an inside world Kozintsev also con- structs through a complex relationship of stasis ...
... castle now visible in the distance . Following the short dialogue between Kent and Gloucester ( 1.1 ) , the scene cuts to the inside of the castle , an inside world Kozintsev also con- structs through a complex relationship of stasis ...
Strana 39
... castle . The high ceilings and con- crete walls of the castle give a sense of confinement , and the directed shafts of light coming from small windows above add to the sense of a stark and alienated political world . The tormented King ...
... castle . The high ceilings and con- crete walls of the castle give a sense of confinement , and the directed shafts of light coming from small windows above add to the sense of a stark and alienated political world . The tormented King ...
Strana 46
... castle but , instead , its image projected on the water . The outside and inside appear initially as sea and shadow , as a two - dimensional , static shape superimposed on a three - dimensional moving surface . ( The black shadow of ...
... castle but , instead , its image projected on the water . The outside and inside appear initially as sea and shadow , as a two - dimensional , static shape superimposed on a three - dimensional moving surface . ( The black shadow of ...
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