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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Výsledky 1 - 3 z 37.
Strana 38
... inside and outside , and his journey , while fundamentally dependent on their opposition , reconciles the two worlds . Lear moves inside himself by moving to the outside world , both physi- cally and psychologically , through his ...
... inside and outside , and his journey , while fundamentally dependent on their opposition , reconciles the two worlds . Lear moves inside himself by moving to the outside world , both physi- cally and psychologically , through his ...
Strana 42
... inside scenes in which scheming politicians plan battles that murder the innocent . In the film , the specter of scenes of collusion like , for example , the one among Northumberland , Worcester , and Hotspur ( 1 Henry IV , 1.3.131–302 ) ...
... inside scenes in which scheming politicians plan battles that murder the innocent . In the film , the specter of scenes of collusion like , for example , the one among Northumberland , Worcester , and Hotspur ( 1 Henry IV , 1.3.131–302 ) ...
Strana 44
... inside and outside a series of contradictions that work to define the spatial field in a manner similar to the way we work with many parts to characterize Falstaff himself . Welles's spatial field , along with Shakespeare's own design ...
... inside and outside a series of contradictions that work to define the spatial field in a manner similar to the way we work with many parts to characterize Falstaff himself . Welles's spatial field , along with Shakespeare's own design ...
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