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 29.
Strana 46
... political trap that is Elsinore , made explicit in the raising of the castle drawbridge ( an image of isolation ) and the simultaneous lowering of a huge iron portcullis after Hamlet enters on his return to Denmark from Wittenberg . The ...
... political trap that is Elsinore , made explicit in the raising of the castle drawbridge ( an image of isolation ) and the simultaneous lowering of a huge iron portcullis after Hamlet enters on his return to Denmark from Wittenberg . The ...
Strana 80
... political relations , takes on gestic con- tent . As the gest in Brecht's theater fundamentally has to do with human ( political ) relations , so Olivier's tight shot frames those relations in Shake- speare's play and the attitudes of ...
... political relations , takes on gestic con- tent . As the gest in Brecht's theater fundamentally has to do with human ( political ) relations , so Olivier's tight shot frames those relations in Shake- speare's play and the attitudes of ...
Strana 81
... political climb ) , indifferent murderer ( to us in the audience who have al- ready heard him admit as much ) and the murderer of sexuality between a man and a woman . He is the carrier of a new force of sexuality and imposes it as he ...
... political climb ) , indifferent murderer ( to us in the audience who have al- ready heard him admit as much ) and the murderer of sexuality between a man and a woman . He is the carrier of a new force of sexuality and imposes it as he ...
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
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