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 40 találatból.
13. oldal
... perspective that film offers the spectator of Shakespeare's drama , together with the imaginative positioning that ... perspective , or attitude , through the resources of the film . " In addition , identification must be understood in ...
... perspective that film offers the spectator of Shakespeare's drama , together with the imaginative positioning that ... perspective , or attitude , through the resources of the film . " In addition , identification must be understood in ...
18. oldal
... perspective that reminds us of our moral distance from , while paradoxically highlighting our susceptibility to , the vice . The spectator does not rest with one perspective or the other ; the process works in a dynamic relationship ...
... perspective that reminds us of our moral distance from , while paradoxically highlighting our susceptibility to , the vice . The spectator does not rest with one perspective or the other ; the process works in a dynamic relationship ...
25. oldal
... perspective on the moment , and Kozintsev stimulates a sympathy for the young lovers by letting us in on what is secret . The next perspective we have , however , is from the viewpoint of Claudius and Polonius , a perspective that ...
... perspective on the moment , and Kozintsev stimulates a sympathy for the young lovers by letting us in on what is secret . The next perspective we have , however , is from the viewpoint of Claudius and Polonius , a perspective that ...
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