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 14
... comes to realize that “ every choice is absurd , or rather , that there is no choice . " 8 At a pivotal moment before Macbeth kills Duncan , the hero speaks of an imaginary dagger in his " heat - oppressed brain . " In the film , as we ...
... comes to realize that “ every choice is absurd , or rather , that there is no choice . " 8 At a pivotal moment before Macbeth kills Duncan , the hero speaks of an imaginary dagger in his " heat - oppressed brain . " In the film , as we ...
Strana 37
... comes from the capacity of the camera to realize a vertical meaning of the text , to travel and hence expose the level of dramatic action operating underneath , to give form to an aspect of the performance text that is “ be- low ...
... comes from the capacity of the camera to realize a vertical meaning of the text , to travel and hence expose the level of dramatic action operating underneath , to give form to an aspect of the performance text that is “ be- low ...
Strana 76
... comes to an end , the imaginary dagger reappears , and Macbeth moves with it to Duncan's chambers . He passes the drugged guards ( whom we see in close - up ) , finds Duncan , and freezes momentarily . The immediate prelude to the ...
... comes to an end , the imaginary dagger reappears , and Macbeth moves with it to Duncan's chambers . He passes the drugged guards ( whom we see in close - up ) , finds Duncan , and freezes momentarily . The immediate prelude to the ...
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