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 | |
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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