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 82.
Strana 6
... play by two - thirds , cut entire scenes , excised charac- ters , added others , rearranged what remained of the play , and made the film in twenty - three days . Welles has called his Macbeth a " violently sketched charcoal drawing of ...
... play by two - thirds , cut entire scenes , excised charac- ters , added others , rearranged what remained of the play , and made the film in twenty - three days . Welles has called his Macbeth a " violently sketched charcoal drawing of ...
Strana 92
... play , Richard tells the audi- ence in his first soliloquy how he has " set [ his ] brother Clarence and the King / In deadly hate the one against the other . " He reports how he has framed his brother George , Duke of Clarence , by ...
... play , Richard tells the audi- ence in his first soliloquy how he has " set [ his ] brother Clarence and the King / In deadly hate the one against the other . " He reports how he has framed his brother George , Duke of Clarence , by ...
Strana 100
... play - within - the - play is interesting on many levels , not the least of which is the way it comments on the play proper . " The Mousetrap " is perfor- mance criticism in motion , commenting through the process of a perfor- mance on ...
... play - within - the - play is interesting on many levels , not the least of which is the way it comments on the play proper . " The Mousetrap " is perfor- mance criticism in motion , commenting through the process of a perfor- mance on ...
Obsah
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Autorské práva | |
8 zvyšných častí nezobrazených
Časté výrazy a frázy
activity actor alienation articulate audience aural field battle battle of Shrewsbury Brook camera Cassio castle chaos character Chimes at Midnight cinematic space Claudius Claudius's close-up context Cordelia create dagger Desdemona director drama dynamic elements Elsinore experience face Falstaff figure filmic and theatrical filmic space filmmaker focus Ghost Gloucester Gloucester's Goneril Grigory Kozintsev Hamlet Henry hero hero's human Iago Iago's imaginative inside isolate juxtaposition King Lear Kozintsev lago Laurence Olivier Lear's long shot low-angle shot Macbeth medium mise-en-scène move movement murder Olivier Olivier's Ophelia Orson Orson Welles's Othello Peter Brook Polanski political production relationship Richard Richard III scene screen sense sequence shadow Shakespeare films Shakespeare on Film Shakespeare Our Contemporary Shakespeare's plays simultaneous action soliloquy soundtrack spatial field speaks speare's specific spectator speech stage storm technique temporal tension theater theatrical space tion tragedy University Press viewer visual voice-over witches words York