The Cambridge Companion to Shakespeare on FilmRussell Jackson Cambridge University Press, 26 paź 2000 - 342 Film adaptations of Shakespeare's plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare's plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives: as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare's women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong coverage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. |
Z wnętrza książki
Wyniki 1 - 5 z 84
Strona 3
... audience's prior knowledge of plays ( or even specific performances ) or such extra - filmic devices as a narrator or lecturer . Luke McKernan suggests 1916 as a watershed year , citing the production of a King Lear ( produced by Edwin ...
... audience's prior knowledge of plays ( or even specific performances ) or such extra - filmic devices as a narrator or lecturer . Luke McKernan suggests 1916 as a watershed year , citing the production of a King Lear ( produced by Edwin ...
Strona 5
... audience's lack of interest in the much- hyped Star Wars prequel'.12 What is always hoped for though is the all - important shift from one section of the market to another , the crossover that can move a Shakespeare film out of the ...
... audience's lack of interest in the much- hyped Star Wars prequel'.12 What is always hoped for though is the all - important shift from one section of the market to another , the crossover that can move a Shakespeare film out of the ...
Strona 6
... audience , often on the first weekend – that is usually taken as indicative of a film's financial success . The situation is not necessarily or indeed usually one of conflict between writers or directors and dollar - hungry ' suits ...
... audience , often on the first weekend – that is usually taken as indicative of a film's financial success . The situation is not necessarily or indeed usually one of conflict between writers or directors and dollar - hungry ' suits ...
Strona 7
... audience are subtler . In 1935 the US campaign book for Max Reinhardt's A Midsummer Night's Dream offered a strategy ' designed exclusively for premiere engagements ' sug- gesting ways in which the film could be turned into a social and ...
... audience are subtler . In 1935 the US campaign book for Max Reinhardt's A Midsummer Night's Dream offered a strategy ' designed exclusively for premiere engagements ' sug- gesting ways in which the film could be turned into a social and ...
Strona 8
... audience , a film has to be presented to a suc- cession of potential buyers : first to the major distributors , then by them to the distributors in different territories , who in turn must sell it to their own clients , the exhibitors ...
... audience , a film has to be presented to a suc- cession of potential buyers : first to the major distributors , then by them to the distributors in different territories , who in turn must sell it to their own clients , the exhibitors ...
Spis treści
From playscript to screenplay | 15 |
Video and its paradoxes | 35 |
Critical junctures in Shakespeare screen history the case of Richard III | 47 |
Shakespeare and movie genre the case of Hamlet | 72 |
Genres and plays | 83 |
The comedies on film | 85 |
Filming Shakespeares history three films of Richard III | 99 |
Hamlet Macbeth and King Lear on film | 117 |
Grigori Kozintsevs Hamlet and King Lear | 199 |
Franco Zeffirelli and Shakespeare | 212 |
Flamboyant realist Kenneth Branagh | 222 |
Critical issues | 239 |
Looking at Shakespeares women on film | 241 |
National and racial stereotypes in Shakespeare films | 261 |
Shakespeare the illusionist filming the supernatural | 274 |
Shakespeares cinematic offshoots | 295 |
The tragedies of love on film | 135 |
Directors | 161 |
The Shakespeare films of Laurence Olivier | 163 |
Orson Welles and f1lmed Shakespeare | 183 |
314 | |
FILMOGRAPHY | 318 |
325 | |
Inne wydania - Wyświetl wszystko
Kluczowe wyrazy i wyrażenia
Act 4 scene actors adaptation American Anthony Davies Antony audience Banquo Cambridge Companion camera Capulet Cassio castle character Chimes at Midnight cinema Claudius close-up comedy critics cultural Desdemona director drama edited Elizabethan Elsinore English face Falstaff film's Fortinbras frame Franco Zeffirelli genre Gertrude ghost Hamlet Henry Hollywood Iago Iago's Ian McKellen images Jorgens Kate Kenneth Branagh Kenneth Branagh's King Lear Kozintsev Kurosawa Laurence Olivier Loncraine London look Luhrmann Manvell McKellen medium Méliès Michael Midsummer Night's Dream move murder narrative Nunn's Olivier's film Ophelia Orson Othello performance Peter play's Polanski's political Review Richard Richard III role Romeo and Juliet screen screenplay script sexual Shakespeare films Shakespeare on Film Shakespeare's play shot Shrew silent soliloquy speech stage production star studio supernatural television theatre theatrical Throne of Blood tion tradition tragedy visual voice Washizu Welles's witches women words York