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 88.
Strana 36
... movement in a static land . Immediately following the blast of the horn , hundreds upon hundreds of peasants appear . In a completely attenuated universe , human beings in ... movement inside as well , movement that 336 Still in Movement.
... movement in a static land . Immediately following the blast of the horn , hundreds upon hundreds of peasants appear . In a completely attenuated universe , human beings in ... movement inside as well , movement that 336 Still in Movement.
Strana 37
Shakespeare on Screen Lorne Michael Buchman. But there is movement inside as well , movement that contradicts the order and ceremony that exists on the ostensible level of Shakespeare's play and exposes the seeds of chaos and conflict ...
Shakespeare on Screen Lorne Michael Buchman. But there is movement inside as well , movement that contradicts the order and ceremony that exists on the ostensible level of Shakespeare's play and exposes the seeds of chaos and conflict ...
Strana 38
... movement outside . Inside and outside thus form a dynamic in Kozintsev's Lear ; we witness at once a physical movement in the film from the inside to the outside , a psychologi- cal transition of a similar nature taking the form of ...
... movement outside . Inside and outside thus form a dynamic in Kozintsev's Lear ; we witness at once a physical movement in the film from the inside to the outside , a psychologi- cal transition of a similar nature taking the form of ...
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