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 91
... filmic space . II Olivier works in a similar way in Richard III . He creates a spatial dynamic that comments on the theatrical self - consciousness of Shakespeare's play by using a parallel filmic self - consciousness . In this instance ...
... filmic space . II Olivier works in a similar way in Richard III . He creates a spatial dynamic that comments on the theatrical self - consciousness of Shakespeare's play by using a parallel filmic self - consciousness . In this instance ...
Strana 101
... filmic and theatrical spaces form a compelling dy- namic . The camera moves with the freedom of cinematic space as it shoots " The Mousetrap , " just as Olivier's camera can roam with similar freedom of movement as it shoots ...
... filmic and theatrical spaces form a compelling dy- namic . The camera moves with the freedom of cinematic space as it shoots " The Mousetrap , " just as Olivier's camera can roam with similar freedom of movement as it shoots ...
Strana 106
... filmic space by defamiliarizing that space with a theatrical contrast . We return to filmic space in the following low - angle close - up shot of Gloucester riding on Edgar piggyback . Again , the technique Brook em- ploys to create the ...
... filmic space by defamiliarizing that space with a theatrical contrast . We return to filmic space in the following low - angle close - up shot of Gloucester riding on Edgar piggyback . Again , the technique Brook em- ploys to create 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
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