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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13. oldal
... relationship in the imaginative journey of viewing Shakespeare on film ( and one that results from the cinema's spatial field of multiple perspectives ) consists of an inter- play between moments of identification and moments of ...
... relationship in the imaginative journey of viewing Shakespeare on film ( and one that results from the cinema's spatial field of multiple perspectives ) consists of an inter- play between moments of identification and moments of ...
32. oldal
Shakespeare on Screen Lorne Michael Buchman. is a paradigmatic relationship in the “ virtual dimension " of ... relationships . The cinema activates the imagi- nation in a manner different from that of the stage , even though one often ...
Shakespeare on Screen Lorne Michael Buchman. is a paradigmatic relationship in the “ virtual dimension " of ... relationships . The cinema activates the imagi- nation in a manner different from that of the stage , even though one often ...
54. oldal
... relationship to his physical environment ( and how spiritual change stems from that confrontation ) ; in the other we see the new relationships that define the human being in the context of a tortured psyche . To express the issue as a ...
... relationship to his physical environment ( and how spiritual change stems from that confrontation ) ; in the other we see the new relationships that define the human being in the context of a tortured psyche . To express the issue as a ...
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