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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Výsledky 1 - 3 z 62.
Strana 15
... visual in the performance space he builds . He makes the viewing process more intricate as the soliloquy progresses by creating a tension specific to alter- nating visual perspectives . As we hear " Is this a dagger which I see before ...
... visual in the performance space he builds . He makes the viewing process more intricate as the soliloquy progresses by creating a tension specific to alter- nating visual perspectives . As we hear " Is this a dagger which I see before ...
Strana 27
... visual realization of Macbeth's nightmare in juxtaposition with images depicting his ambiguous stature ( i.e. , Macbeth as " huge " domineer- ing tyrant , vs. Macbeth as " tiny , " defeated human being ) . On the one hand , Welles uses ...
... visual realization of Macbeth's nightmare in juxtaposition with images depicting his ambiguous stature ( i.e. , Macbeth as " huge " domineer- ing tyrant , vs. Macbeth as " tiny , " defeated human being ) . On the one hand , Welles uses ...
Strana 69
... visual field to create his effect . He exploits the voice - over to build in the aural field what the close - up achieves in the visual . Indeed , Polanski employs voice - over in this film more frequently than any other major cinematic ...
... visual field to create his effect . He exploits the voice - over to build in the aural field what the close - up achieves in the visual . Indeed , Polanski employs voice - over in this film more frequently than any other major cinematic ...
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