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 19.
Strana 15
... voice - over of film , though it , too , makes public someone's intimate struggles , works differently . With- out direct speech , the soliloquy imitates the process in human experience of listening to the voices of one's own ...
... voice - over of film , though it , too , makes public someone's intimate struggles , works differently . With- out direct speech , the soliloquy imitates the process in human experience of listening to the voices of one's own ...
Strana 69
... 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 adaptation of Shake- spearean drama ( it is used on ...
... 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 adaptation of Shake- spearean drama ( it is used on ...
Strana 73
... voice - over and close - up work specifically to make those thoughts fill the entire space . On the screen the action is thinking . In the surreptitious space of voice - over and close - up , where the " murder yet is but fantastical ...
... voice - over and close - up work specifically to make those thoughts fill the entire space . On the screen the action is thinking . In the surreptitious space of voice - over and close - up , where the " murder yet is but fantastical ...
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