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 44.
Strana 15
... experience of a soliloquy on stage . A spoken soliloquy in the space of a live performance is a public event , even though convention suggests the opposite . We witness a char- acter speaking in a public forum , yet learn through ...
... experience of a soliloquy on stage . A spoken soliloquy in the space of a live performance is a public event , even though convention suggests the opposite . We witness a char- acter speaking in a public forum , yet learn through ...
Strana 27
... experience in a specific series of spatial relationships . In other words , the governing force that leads to ... experience of the action with the subjective experience of the hero . Welles alienates our identification with Macbeth's ...
... experience in a specific series of spatial relationships . In other words , the governing force that leads to ... experience of the action with the subjective experience of the hero . Welles alienates our identification with Macbeth's ...
Strana 30
... experience . Paradoxically , what alienates us from such identification are Welles's distorted pictures , his shadows , and his labyrinthine set ; because from the outside we see Macbeth follow the illusory , we know he is enmeshed in a ...
... experience . Paradoxically , what alienates us from such identification are Welles's distorted pictures , his shadows , and his labyrinthine set ; because from the outside we see Macbeth follow the illusory , we know he is enmeshed in 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
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