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 34.
Strana 37
... hand the opposition of inside and outside is crucial as a way of documenting and tracing Lear's journey ; on the other hand , the boundaries are not so precisely defined , and the two worlds operate as discursive elements that share key ...
... hand the opposition of inside and outside is crucial as a way of documenting and tracing Lear's journey ; on the other hand , the boundaries are not so precisely defined , and the two worlds operate as discursive elements that share key ...
Strana 65
... hand dismissing Shallow's memories of youth , the hand that holds in delightful celebration a cup of sherris - sack , the hand that takes bribes from the poorest of men , the hand that reaches for Hal's friend- ship , the hand of ...
... hand dismissing Shallow's memories of youth , the hand that holds in delightful celebration a cup of sherris - sack , the hand that takes bribes from the poorest of men , the hand that reaches for Hal's friend- ship , the hand of ...
Strana 72
... hands . In the shot itself we observe the weapons , fresh from the killing , in front of Lady Macbeth's face . Like the crooked stick of the witches that enters the frame in the opening , the daggers in Macbeth's hand , slicing across ...
... hands . In the shot itself we observe the weapons , fresh from the killing , in front of Lady Macbeth's face . Like the crooked stick of the witches that enters the frame in the opening , the daggers in Macbeth's hand , slicing across ...
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