Still in Movement: Shakespeare on ScreenOxford University Press, 1991 - 171 oldal 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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49. oldal
... Claudius's attempts to keep the outside world at a distance , despite his drawbridge and portcullis , despite his attempts to mold Hamlet according to the political dictates of his interior regime , the outside works its way inside and ...
... Claudius's attempts to keep the outside world at a distance , despite his drawbridge and portcullis , despite his attempts to mold Hamlet according to the political dictates of his interior regime , the outside works its way inside and ...
83. oldal
... Claudius's self - alienation and shows that the tyrant is not exempt from the consequences of his own political oppression . Instead of watching Claudius kneel down to pray ( re- call that Kozintsev de - emphasizes the Christian context ...
... Claudius's self - alienation and shows that the tyrant is not exempt from the consequences of his own political oppression . Instead of watching Claudius kneel down to pray ( re- call that Kozintsev de - emphasizes the Christian context ...
113. oldal
... Claudius speaking his opening lines in court ( " Though yet of Hamlet our dear brother's death " ) , we hear the ... Claudius in French . Finally , we are in the assembly , where Claudius himself continues the speech , begin- ning with ...
... Claudius speaking his opening lines in court ( " Though yet of Hamlet our dear brother's death " ) , we hear the ... Claudius in French . Finally , we are in the assembly , where Claudius himself continues the speech , begin- ning with ...
Tartalomjegyzék
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Copyright | |
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Gyakori szavak és kifejezések
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