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 29.
Strana 48
... force but on politics itself . Whatever may be " rotten in the state of Denmark " is caused by the human beings who ... forces of the outside — an attempt at exclusiveness that defines Claudius's despotism . " A modern Elsinore would ...
... force but on politics itself . Whatever may be " rotten in the state of Denmark " is caused by the human beings who ... forces of the outside — an attempt at exclusiveness that defines Claudius's despotism . " A modern Elsinore would ...
Strana 50
... forces of history , to carry the conflict of inside and outside — is too great for any one individual to bear . The tragedy in Kozintsev's film is evident in the impos- ing of the responsibility on one man , despite his heroic stature ...
... forces of history , to carry the conflict of inside and outside — is too great for any one individual to bear . The tragedy in Kozintsev's film is evident in the impos- ing of the responsibility on one man , despite his heroic stature ...
Strana 129
... force in the film from individual relationships to that force . For it is in Welles's development of the subjective ... forces the spectator to associate these figures with lago as one who will hammer upon Othello's emotional balance as ...
... force in the film from individual relationships to that force . For it is in Welles's development of the subjective ... forces the spectator to associate these figures with lago as one who will hammer upon Othello's emotional balance as ...
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