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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Strana 9
... performance of the central figure ( especially with respect to his physicality and spellbinding soliloquies ) , and the marriage of the great performers Olivier and Richard in an astonishingly powerful relationship . Add to this core ...
... performance of the central figure ( especially with respect to his physicality and spellbinding soliloquies ) , and the marriage of the great performers Olivier and Richard in an astonishingly powerful relationship . Add to this core ...
Strana 88
... performance space . The viewer is keenly aware of the contrast between three - dimensional actors and the decorative compositions of the set ; the flavor of theatrical artifice domi- nates . On another level , however , Olivier has ...
... performance space . The viewer is keenly aware of the contrast between three - dimensional actors and the decorative compositions of the set ; the flavor of theatrical artifice domi- nates . On another level , however , Olivier has ...
Strana 109
... performance is perhaps impossible , because a performance is always “ on the move , " beyond the control of the audience . * Still , the viewer is nonetheless involved in a temporal odyssey as fluid as the one of Iser's reader . What ...
... performance is perhaps impossible , because a performance is always “ on the move , " beyond the control of the audience . * Still , the viewer is nonetheless involved in a temporal odyssey as fluid as the one of Iser's reader . What ...
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