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 31.
Strana 29
... stand before Macbeth . But Macbeth does not remain the towering giant for long . After the banquet scene , he decides to seek out the witches for more information . He leaves his castle and goes to the heath where he first met the Weird ...
... stand before Macbeth . But Macbeth does not remain the towering giant for long . After the banquet scene , he decides to seek out the witches for more information . He leaves his castle and goes to the heath where he first met the Weird ...
Strana 36
... stand by a lady - in - waiting , glances lovingly at France , but is quickly made to stand soberly with the others after a subtle but stern nudge from her lady . Servants , attendants , nobility , royalty stand absolutely still and ...
... stand by a lady - in - waiting , glances lovingly at France , but is quickly made to stand soberly with the others after a subtle but stern nudge from her lady . Servants , attendants , nobility , royalty stand absolutely still and ...
Strana 117
... stands in " for the plucking out of a man's eyes . The notion of the copulating activity of a bastard son becomes the image of revenge against a father who never truly saw the consequences of his own history . The close - up on the smug ...
... stands in " for the plucking out of a man's eyes . The notion of the copulating activity of a bastard son becomes the image of revenge against a father who never truly saw the consequences of his own history . The close - up on the smug ...
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