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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1 - 3 találat összesen 62 találatból.
68. oldal
... up provides ( to borrow again from Bachelard ) an " intimate immensity , " bringing the spectator into close range ... close - up , in its “ intimate immensity , " brings into relief the face that has always remained in the relative ...
... up provides ( to borrow again from Bachelard ) an " intimate immensity , " bringing the spectator into close range ... close - up , in its “ intimate immensity , " brings into relief the face that has always remained in the relative ...
73. oldal
... close - up of the hero receiving the medallion , we hear his aside in voice - over : " Glamis , and Thane of Cawdor ! / The greatest is behind . " What was curiosity and intrigue in his facial expression and tone of ( internal ) voice ...
... close - up of the hero receiving the medallion , we hear his aside in voice - over : " Glamis , and Thane of Cawdor ! / The greatest is behind . " What was curiosity and intrigue in his facial expression and tone of ( internal ) voice ...
77. oldal
... close- up and voice - over , and organize them to build the film as a whole . The secrets and covert acts of the film , articulated in a unique spatial realm , are the raw materials that combine in the imagination of the spectator to ...
... close- up and voice - over , and organize them to build the film as a whole . The secrets and covert acts of the film , articulated in a unique spatial realm , are the raw materials that combine in the imagination of the spectator to ...
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
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