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 12.
Strana 13
... subjective positioning and a more objec- tive and contemplative point of view . Indeed , cinema has the capacity to give the spectator the opportunity to share the subjective perceptions and experiences of a given character , an ...
... subjective positioning and a more objec- tive and contemplative point of view . Indeed , cinema has the capacity to give the spectator the opportunity to share the subjective perceptions and experiences of a given character , an ...
Strana 27
... subjective experience in a specific series of spatial relationships . In other words , the governing force that leads to identification is not so literally " point of view , " but an individual char- acter's subjective state . The ...
... subjective experience in a specific series of spatial relationships . In other words , the governing force that leads to identification is not so literally " point of view , " but an individual char- acter's subjective state . The ...
Strana 62
... subjective point of view with perspectives external to it , the director interrupts the external points of view with the subjective visions of the hero . An examination of the storm on film is particularly instructive because it is the ...
... subjective point of view with perspectives external to it , the director interrupts the external points of view with the subjective visions of the hero . An examination of the storm on film is particularly instructive because it is the ...
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