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 47.
Strana 22
... dynamic of the scene . Whatever the trade - off on stage , the potentials of cinematic space offer a third possibility . Through cutting , Welles's film realizes the ambiguous status of the ghost — it is and is not there ...
... dynamic of the scene . Whatever the trade - off on stage , the potentials of cinematic space offer a third possibility . Through cutting , Welles's film realizes the ambiguous status of the ghost — it is and is not there ...
Strana 26
... dynamic of human relationships . " The result of the cinema's capacity to give spatial form to this dynamic is that it offers the spectator a sense of two distinct forces , one behind the curtain and the other in the center of the great ...
... dynamic of human relationships . " The result of the cinema's capacity to give spatial form to this dynamic is that it offers the spectator a sense of two distinct forces , one behind the curtain and the other in the center of the great ...
Strana 78
... dynamic . Movement among the elements of a given shot ultimately participates in the movement of the film as a whole . Specifically , in a process similar to that of montage itself , the close - up , or medium close shot , can give a ...
... dynamic . Movement among the elements of a given shot ultimately participates in the movement of the film as a whole . Specifically , in a process similar to that of montage itself , the close - up , or medium close shot , can give a ...
Obsah
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Autorské práva | |
8 zvyšných častí nezobrazených
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