Still in Movement: Shakespeare on ScreenOxford University Press, 1991 - 171 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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Strona 56
... enters with the aid of the camera so that we share intimately in the pain all around . It is the space , moreover , that provides the context for Lear's profoundest discoveries . In the film , as opposed to the original text , Lear's ...
... enters with the aid of the camera so that we share intimately in the pain all around . It is the space , moreover , that provides the context for Lear's profoundest discoveries . In the film , as opposed to the original text , Lear's ...
Strona 77
... enters the fortress at the end of the film , he enters an isolated and lonely world from which all inhabitants have fled , a world populated only by Macbeth and the corpse of his wife . Indeed , towards the end of the film , the whole ...
... enters the fortress at the end of the film , he enters an isolated and lonely world from which all inhabitants have fled , a world populated only by Macbeth and the corpse of his wife . Indeed , towards the end of the film , the whole ...
Strona 124
... enters , briefly , into a parenthesis of happiness within the context of destruction . By cutting out all external ... enters at this moment with the dead Cordelia in his arms ( 5.3.259 ) . But in the film , the King does not enter the ...
... enters , briefly , into a parenthesis of happiness within the context of destruction . By cutting out all external ... enters at this moment with the dead Cordelia in his arms ( 5.3.259 ) . But in the film , the King does not enter the ...
Spis treści
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Prawa autorskie | |
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activity actor alienation articulate audience aural field battle battle of Shrewsbury Brook camera Cassio castle chaos character Chimes at Midnight cinematic space Claudius Claudius's close-up context Cordelia create dagger Desdemona director drama dynamic elements Elsinore experience face Falstaff figure filmic and theatrical filmic space filmmaker focus Ghost Gloucester Gloucester's Goneril Grigory Kozintsev Hamlet Henry hero hero's human Iago Iago's imaginative inside isolate juxtaposition King Lear Kozintsev lago Laurence Olivier Lear's long shot low-angle shot Macbeth medium mise-en-scène move movement murder Olivier Olivier's Ophelia Orson Orson Welles's Othello Peter Brook Polanski political production relationship Richard Richard III scene screen sense sequence shadow Shakespeare films Shakespeare on Film Shakespeare Our Contemporary Shakespeare's plays simultaneous action soliloquy soundtrack spatial field speaks speare's specific spectator speech stage storm technique temporal tension theater theatrical space tion tragedy University Press viewer visual voice-over witches words York